Saturday, December 02, 2006

 

A

'Ade' Asep Deni [Indonesia]
Tempat Tanggal Lahir Bandung, 10 September 1969

Alamat Jl. Beton No. 25 Bojong Raya Bandung 40212
Pendidikan Terakhir Jurusan Fotografi Fakultas Seni Rupa dan Desain Universitas Pasundan Bandung, 2002
Phone +62 22 6078 191HP +6281 3020 5010

Performance Art : Kematian, Expo Seni Lisma UNPAS Bersatulah Bangsaku, Saparua Sakaratul Maut, Kampus Bersih Narkoba Sabugha Demokrasi Belum Nyali, UNPAS Ritual Kelahiran, UNPAS Potret Negeri, BAPAF #1, Galeri Barak Hitam Putih, Workshop Performance Art Galeri Barak Mencangkul aspal menanam pohon, Hari Bumi Cikapayang Dago Melawan Dendam, Jamoe Tjap IKIP Polusi, polusi, dan polusi, UNPAS Ode Untuk FSRD UNPAS Nonton Penonton, BAPAF #2, Gedung Indonesia MenggugatStop Senioritas (Bubarkan Tirani STPDN), BAPAF #2, Gedung Indonesia Menggugat Kado Untuk Barnas, UNPAS Destroyer, Univ. Maranatha, STISI, dan UNPADStatement :Memperlakukan tubuh dalam mencari makna yang indah dalam perdamaian di muka bumi.

Agnes Yit [Singapore]
http://zero-x-xistence.blogspot.com

*my current state of mind*
if you are not living on the edge,
you have taken up too much room


Angie Seah [Singapore]










Angga Wedhaswara [Indonesia]
www.perfarmerlab.blogspot.com


MELAWAN REVOLUSI HIJAU
oleh: Anggawedhaswhara
[1]


Ketika manusia beranjak maju guna mencapai tujuannya yakni menaklukkan alam, ia telah menoreh catatan-catatan mengenai kerusakan mengerikan yang mengarah bukan saja pada bumi tempat ia tinggal, tapi juga pada sesama makhluk hidup lainnya.
(Rachel Carson, akhir musim panas 1962)

Kolonialisasi lama hanya merampas tanah,
Sedangkan kolonialisasi baru merampas seluruh kehidupan
(Vandana Shiva, dalam Neoliberalisme Menumpas Petani karya Khudori)


1. Pada Mulanya
Masalah besar yang dihadapi Indonesia untuk memacu modernisasi adalah pangan dan kepadatan penduduk. Sampai 1960-an Indonesia masih menjadi salah satu importir beras terbesar. Ahli ekonomi dan ilmu sosial memahaminya sebagai akibat keterbelakangan teknologi dan laju pertambahan penduduk yang pesat. Untuk mengatasi masalah pertama pemerintah mengundang ahli pertanian dari berbagai negara dan sebaliknya mengirim tenaga dari Indonesia untuk mempelajari modernisasi sektor pertanian yang dikenal dengan sebuta
n “revolusi hijau”.

Salah satu lembaga terpenting adalah International Rice Research Institute (IRRI) yang dibentuk di Filipina tahun 1960 dengan dukungan Yayasan Ford dan Rockefeller. Penguasa Orde Baru mulai bekerjasama dengan lembaga ini sejak Desember 1972 untuk mengembangkan alat bioteknologi, intensifikasi pertanian, pengendalian hama dan teknik mekanisasi pertanian. Banyak dari 832 ahli Indonesia lulusan IRRI antara 1963 dan 1997 yang kemudian menduduki jabatan penting dalam pemerintahan.

Sejalan dengan doktrin modernisasi, cara pertanian lama ditinggalkan (kadang dengan paksa) dan petani diharuskan menanam bibit keluaran lembaga penelitian itu yang bekerjasama dengan bisnis pertanian. Di satu pihak terjadi peningkatan produktivitas yang mencapai puncaknya pada swasembada pangan 1984, tapi di sisi lain sistem monokultur mengganggu keragaman hayati dan juga cara-cara tradisional yang ternyata lebih efektif untuk menghadapi situasi krisis. Komersialisasi pengetahuan dan teknik pertanian membuat semakin banyak petani yang tersingkir dari tanah mereka karena tidak mampu mengikuti “tuntutan pasar” yang semakin meluas.

Berakar dari paparan sejarah tersebut, akhirnya Revolusi Hijau telah menjadi catatan hitam tersendiri pada bidang pertanian. Ia menjadi satu monster yang menakutkan. Menjadi momok yang menyebalkan dalam tatanan masyarakat. Merusak keragaman hayati. Merusak tanah dan lingkungan secara biologis, fisis dan kimiawi. Menciptakan ketergantungan pada pupuk dan pestisida.


2. Beberapa Fakta Luka
Dari fakta sejarah kita dapat melihat bahwa sejak Orde Baru berkuasa, sesungguhnya perekonomian Indonesia dikendalikan oleh satu sindikasi besar di bidang ekonomi, yang melibatkan ahli ekonomi Indonesia, pemilik modal, bankir, militer dan politisi dari dalam maupun luar negeri serta lembaga keuangan internasional. Jargon yang diusungnya adalah “pemulihan perekonomian Indonesia”, tetapi sesungguhnya yang terjadi adalah pemutar haluan kebijakan ekonomi menjadi penganut kapitalisme pasar bebas.

Selama tahun-tahun pertama Orde Baru hampir semua aturan dan kebijakan mengenai ekonomi sesungguhnya dibuatkan rancangannya oleh IMF, Bank Dunia, USAID atau konsultan asing yang membanjiri Jakarta setelah Soekarno disingkirkan. Dalam perjanjian dengan Freeport McMoran yang sampai hari ini bercokol di Papua, ekonom Mohamad Sadli mengaku hanya minta ditunjukkan kolom-kolom yang harus ditandatanganinya. “Bagi kami yang penting adalah mendatangkan modal ke Indonesia,” katanya seperti dikutip Jeffrey Winters dalam Power in Motion (Merajut Sejarah Nasional, Tim Media Kerja Budaya: Hilmar Farid, M. Fauzi, Sentot Setyosiswanto, Razif )

Sejalan dengan itu semua, dalam bidang pertanian banyak kebijakan-kebijakan yang dilakukan oleh pemerintah yang dapat kita nilai sebagai sebuah kejahatan global. Beberapa diantaranya adalah :

1. Dengan bantuan perusah
aan transnasional seperti SYNGENTA, MONSANTO dll – disini nyata bahwa mereka telah menjadi agen revolusi hijau- Indonesia telah dirusak sumber daya hayati yang terkandung di dalamnya melalui pemaksaan penggunaan pupuk dan pestisida berlebih. Untuk penggunaan pestisida, bukan hanya alam kita saja yang dirusak tapi tubuh kita pun dibuat hancur karenanya. Faktanya, banyak sarjana-sarjana pertanian Indonesia yang bekerja di perusahaan-perusahaan transnasional tersebut dengan iming-iming gaji yang besar. Sungguh sarjana-sarjana pertanian kita telah disuap oleh kemewahan duniawi. Bahkan ketika salah satu teman penulis mencoba berargumen tantang pilihannya untuk tidak memasukan Monsanto sebagi tempat pilihan bekerja dengan alasan bahwa perusahaan ini memiliki track record yang buruk dibidang lingkungan, komentar kawan lainnya adalah, “Hari gini, mikirin itu....” dengan senyum ketus dan sentimentil berlebihan.

2. Bahwa lebih dari 8.000 varietas padi lokal yang dahulu tumbuh subur di Indonesia telah dirampas kepemilikannya dan disimpan di IRRI Filipina dengan hak cipta tertanda Amerika.

3. Penggunaan bibit kapas transgenik –yang diperkenalkan oleh perusahaan transnasional asal Amerika- telah terbukti gagal meningkatkan pendapatan produksi kapas para petani Sulawesi di tahun 2001

4. Amerika dan kroni-kroninya –dalam hal ini IMF dan Bank Dunia- telah mengakibatkan diimpornya beras besar-besaran ke negeri semata untuk menjadikan AS sebagai eksportir beras terbesar di dunia, padahal sesungguhnya persediaan beras Indonesia lebih daripada cukup. Jika saja a
lasan yang digunakan oleh pemerintah adalah agar harga jual beras dapan terjangkau oleh masyarakat luas alangkah lebih elegan dan bermartabat jika fokus kebijakan pemerintah diarahkan pada priduksi dan produktivitas padi. Atau melalui cara menekan serendah-rendahnya angka kehilangan panen yang saat ini sekitar 25-30 persen. Jika saja hal ini dapat dilakukan sesungguhnya kita tidak perlu mengekspor beras besar-besaran ke Indonesia. Fakta yang terjadi dilapangan adalah, bahwa perwakilan Bank Dunia di Indonesia telah menyatakan keberatannya terhadap usulan Tim Pengkajian Kebijakan Perberasan Nasional tentang Pembatasan impor. Sikap Bank Dunia dipertegas lagi oleh ekonom Neil McColloch pada awal 2004, bahwa sesungguhnya rakyat miskin akan disejakterakan jika pemerintah menerapkan kebijakan perdagangan beras yang terbuka. Caranya dengan menghapus bea masuk impor atau setidaknya menetapkan bea masuk yang rendah. Dan ini sejalan dengan yang dilakukan IMF pada Maret 1999 yang menekan pemerintah untuk menurunkan bea masuk impor beras maksimal 5 persen.

Hingga berjuta petani di Indonesia: kehilangan hak atas tanahnya. Tak ada modal untuk bertani. Semua harus dibeli. Pupuk kimia, bibit hibrida, hingga pestisida: membuat mereka lebih sengsara. Saat panen tiba, harga-harga dibanting semuanya. Lalu pedagang-pedagang dikota, berpesta pora menikmati rentenya. Selalu begitu. Mereka terbiasa diam ketika ditipu. Mereka hanya berharap sang ratu adil akan membebaskan anak cucu.

3. Gerakan Organik Sebagai Revolusi Hijau Sesungguhnya
Sesungguhnya petani Indonesia –khususnya petani di luar Jawa- saat ini secara tidak sengaja dan di luar kesadarannya telah melakukan perlawanan terhadap apa yang selama ini di percayai sebagai “revolusi hijau”. Mereka adalah petani-petani yang tidak menjadi target ataupun turut serta dalam revolusi hijau dan akhirnya tetap melakukan pertanian dengan cara yang konvensional. Dilain pihak banyak petani yang tidak sanggup membeli pupuk dan pestisida akibat pencabutan subsidi oleh pemerintah. Disini terlihat jelas bahwa sesungguhnya pertanian organik memiliki arti yang penting dalam masyarakat Indonesia. Sehingga pentinglah digagas suatu Gerakan Pe
rtanian Organik sebagai alternatif perlawanan terhadap dominasi Revolusi Hijau –dalam hal ini ketergantungan terhadap pupuk kimia, pestisida dan bahan-bahan pertanian lainnya yang sejenis-

Awalnya, gerakan organik diragukan keberhasilannya. Hal ini persis seperti yang diungkapkan oleh Kepala Departemen Agronomi dan Hortikultura Institut Pertanian Bogor, yang mendukung habis-habisan revolusi hijau sebagai gerakan yang penting di dunia pertanian Indonesia. Ia pun berpendapat bahwa pertanian organik tidak akan sanggup mengatasi masalah bertambahnya kebutuhan bahan pangan seperti yang diramalkan Maltus. Masih katanya, bahwa pertanian organik tidak efektif dalam mengatasi kelaparan sebab membutuhkan masukan organik yang banyak.

Disisi lain, dia lupa bahwa Gerakan Revolusi Hijau telah menghancurkan tatanan dan kearifan-kearifan lokal yang dilakukan petani zaman dulu. Petani telah dibuatnya lupa akan pentingnya memanfaatkan sisa-sisa panen untuk diolah kembali menjadi bahan organik yang dibutuhkan tanah. Tanah telah dibuatnya rusak dengan asupan pupuk kimia berlebih. Pengolahan tanah menggunakan mesin-mesin berat telah mengakibatkan tanah-tanah pertanian menjadi padat. Dan penggunaan pestisida yang gila-gilaan telah membuat musuh-musuh alami yang berguna dalam rantai makanan hilang.

Sebetulnya ditingkat nasional, gerakan pertanian organik telah disepakati untuk menjadi gerakan industrialisasi pedesaan yang berkelanjutan. Petani diyakini sejahtera setelah lepas dari ketergantungan terhadap benih, pupuk, dan pestisida (Kompas, 25 November 2006).

Yang paling hebat, saat ini gerakan pertanian organik telah didukung oleh banyak pihak. Bahkan organisasi-organisasi non pemerintah yang membela kaum tani banyak bermunculan. Gerakan Pertanian Organik seolah-olah menjadi sebuah “ideologi” baru sebagai bentuk perlawanan terhadap hegemoni perusahaan-perusahaan transnasional –seperti Syngenta, Monsanto, dan sejenisnya- yang nyata-nyata telah m
erusak pertanian secara khusus dan lingkungan Indonesia secara umumnya.


Begitulah, kita kadang terlalu naif membiarkan diri kita menikmati asupan-asupan makanan yang mengenyangkan. Padahal banyak petani Indonesia yang diakhir panennya hanya mampu mengkonsumsi timun dan kerupuk saja.


Bandung, November 2006
anggawedhaswhara

[1] Mahasiswa Jurusan Budidaya Fakultas Pertanian Universitas Padjadjaran.



ARAI Shin-ichi [Japan]

"Happy Japan!"

http://www.araiart.jp/90604.html

Ryogoku Tokyo, Japan
http://us.f905.mail.yahoo.com/ym/Compose?To=z@araiart.jp&YY=15904&y5beta=yes&y5beta=yes&order=down&sort=date&pos=0&view=a&head=b
http://www.araiart.jp/


Ari Suryadi Nata [Indonesia]


Ariefyudi [Indonesia]


Arief 'Nga-nga' Dharmawan [Indonesia]




 

B



B+PAC [Bandung Performance Art Community]

 

D

Deden Sambas [Indonesia]

 

C


Cheng Guangfeng [China]

 

E

Emily White [USA]

 

F



 

G

Ganiati
APA ITU GANIATI?
Ganiati itu adalah kependekan dari Garing maNIa sAmpay maTI. Ganiati lahir di Bandung pada tahun 2000 sebagai permulaan dari abad 21 century fox. Ganiati terdiri dari mahasiswa angkatan 2000 Seni Rupa UPI, dimana sekitar 40% beranggotakan wanita, 59% laki-laki dan 1% maung. Karena itu kita dari dulu hingga sekarang dan yang akan datang walaupun sampai ajal menjemput, akan tetap berprilaku sesuatu yang beraroma garing, dan itu akan tetap menjadi konsep berkesenian kami. Ganiati mempunyai visi dan misi yang patut dibanggakan oleh semua orang termasuk maung. Ganiati merupakan sebuah komunitas performance art yang menampilkan suatu pertunjukan yang sangat biasa dan tidak ada yang aneh (menurut kita), tetapi orang melihat ganiati merupakan suatu komunitas yang tidak biasa (iya gitu?…).

PENGALAMANNYA?
Tentu saja banyak sekali pengalaman dari ganiati…ganiati itu sudah banyak makan asam garam sumbangan dari baso si fren. Ganiati sudah sering berperformance di banyak kota, baik di Indonesia maupun di Eropah dan Amerikah. Kota yang pernah dikunjungi ganiati di Indonesia diantaranya: Bandung, Jogjakarta, Jakarta, Bali, Pulau Bangka, Ciamis, Cililin, Cijerah, Cibiru, Cigondewah, Soreang, Widujanten Kuningan, Patala Kuningan, Margahayu Raya, Banjaran, Ujung Berung, Kopo, Subang, Pasir Luyu, Lembang, Cibeureum, Jamika, Inhoftank, Antapani dan masih banyak lagi yang tidak disebutkan karena terlalu banyak. Kota-kota di luar negeri yang sering dikunjungi Ganiati diantaranya: Washington DC, Paris, Canberra, Congo, Zimbabwe, Rio de jeneiro, Candle Water, Egg Water, Niagara, Piss Emboss, Coconut Jetpump dan spesialnya buat Australia di rumah kapan, maen kuda lagi?

RENCANA KE DEPAN APAAN SICH..?
Buat rencana ke depan, Ganiati akan buka website, buka gallery, performance art, nangis bareng Britney Spears, dan naek kuda. Trus rencananya Ganiati juga akan membangun sebuah rumah tangga yang sakinah, mawadah warrohmatullahhi Wabarrokatuh.

SIAPA AJA SICH GANIATER?
Rennie ˜Emon Agustine-1
Feria ˜Eric Secada Wan-2
Dyani ˜Kucing Fitri-3
Komar ˜Kompak Rudin-4
Adi ˜Tai Wiguna-5
Bayu ˜Bu™Ajh Ninja Abdurrahim-6
Yanna ˜Tele Yurilia-7
M. Agus ˜MB Budiman-8
Tina˜Beni Nurazizah-9
Rangga ˜Maung Aditya-10
Vidya ˜SiViDi Porno Sukma Nurhandayani-11
Nita ˜Tidak NitaGanita-12
Ceria ˜Ceut Rieut Harnesa-13
Darma ˜Darmaceut Wan-14
Detin ˜Destincil Susanah-15
Arif ˜KlekdokJohari-16
Saepul ˜Apul Hidayat-17
Rudayroyâart-18
Wahyuni ˜Yuni Utami-19
Irwan ˜Sizhphin Mulyawan-20
M. Kaut Monyet MudaSar-21
Atang ˜Angtakatakata Yusnandi-22
Yudi˜MenwaAna-23
Herlina JasJusJasni-24
Fitri ˜Gibigh yuliastuti-25
Ayi Asamz Syahrul hamzah-26
Rima Karimun Pertiwi-27
Herman HerboyNurjaman-28
AgusDudaSuryadi-29
Alm. Coret semoga diterima amal ibadahnya, Amin-30
Diki jet li hernadi-31
Dedi dec cahyadi-32
PENGALAMAN BERMAIN? SERIUS AYEUNA MAH¦!!!!
Pesta JURIG PENTAGON 2000
Cofee MORNING Gd Pentagon UPI 2000
PASAR SENI BANDUNG 2000
DIES NATALIS UPI,Oktober 2000
Pameran " KomikUdik" Gd Garnadi UPI,Oktober 2001
Performance Art KOMIK IDUP, Gd. Garnadi UPI Bandung,Oktober 2001
" Pentagon Glamour Art Award UPI 2001
Fashionable BAE ( Bandung Art Event ) Bandung 2001
"Expantion Moving Program" Galeri Nasional Indonesia Jakarta 2001
Performance art " Ada Apa Dengan Cinta" di Regent dan di BIP bandung 2001
Performance art Senam Kesegaran Ganiati" Kertas Segel " SMUN 25 Bandung 2002
Dies Natalies UPI 2002
pameran " Kzhout Borozout , Galeri Botol Bandung 2002
"Gerakan anti kekerasan" Bersama Majalah Retas, di BIP 2002
Launcing " KOMIK DAGING TUMBUH" Dago 2002
Performance Art " Featuring F4" BAVF-NAVF Rumah Nusantara 2002
Performance Art,Penghapusan Mural Pentagon,Bandung,Maret 2002
" Pembukaan Pameran ETNOGRAFI"feat.marching band SD.KPAD, Rumah Proses 2003
Workshop " Membaca Kebaya " VIctoria Catonni , UPT Kebudayaan UPI 2003
" senam Kebaya" Bersama Victoria Catonni di GASIBU Bdg 2003
Kerupuk VS Bonteng & Tahu BAPAF # 2, Gd. Lanraad Bandung Oktober 2003
Ngindung ka waktu Ngabapa ka jaman Dago Festival Bandung,Desember 2003
Apapun yang terjadi,Gue turut berduka Cita Dago Festival Bandung Desember 2004
 Mari Berdoa Untuk Aceh pembukaan pameran tunggal Andang Iskandar,BTW Space, Desember 2004
Performance ArtKilas Balik Disbudpar,Tmn Budaya Bdg ,Desember 2004
Performance Art Upacara berkabung PENTAGON,Maret 2005
Performance Art senam kesegaran ganiati pada "Lomba Mekanik Honda" Ci Walk, 1 Oktober 2005.
Performance Art , senam kesegaran ganiati "Aku Orang Indonesia" Pembukaan Pameran Agus Zimo, Dago Tea House, 26 November 2005-12-05
Performance Art Senam Kesegaran ganiati. Braga festival Bandung. 28- 30 Desember 2005
Performance Art Senam Kesegaran ganiati- Lomba Mekanik Honda. Cihampelas Walk Bandung Oktober 2005
Pengisi acara Performance Art Senam Kesegaran ganiati di Festival 61 Layar Tancep, memperingati 61 tahun kemerdekaan Indonesia. Senayan, Jalarta. Agustus
Performance art "Senam Jazz" Ganiati, Jazztival 17 September. Bumi Sangkuriang. Bandung

contact person :
A rif :08157102373
RenniEmonk: 08156124937
email- friendster : nia_ganiati@yahoo.com

 

I

Ilham J. Baday [Indonesia]
Biodata
Nama : Ilham J. Baday
Tempat, Tgl Lahir : Surabaya, 25 April 1974
Alamat Surat : Jl. Kali Kepiting No; 11B Surabaya
Telepon : +62_85850909106
Email :
ilhamjbaday@yahoo.com

Aktivitas Berkesenian
1997

Ketua Teater API Indonesia (TAI)
1998 - 2001

Pentas teater API “Caligula” di beberapa kota di Jawa - Bali
2004

Solo Performance Art “ Pesta Kematian “ di teras DPRD Surabaya
Solo Performance Art “ Evolusi Orang-orang Menjadi Sampah “ di Kalimas Surabaya
Solo Performance Art “ Masyarakat Penjaja Kemaluan “ di trotoar Balai Kota Surabaya
2005

Solo Performance Art “ Indonesian’s Dreams “ di Depo Sampah Kayoon Surabaya
2006

Monolog Art “ Sarip Tambak Oso “ di Surabaya, Malang, Solo, dan Bandung
Aksi Seni SCHOLA_ING ROCK;KLAMASI di Balai Pemuda Surabaya
Solo Performance Art “ Orang-orang Urban “ di BJ Junction Surabaya
Solo Performance Art “ Sampah Masyarakat “ di Dewan Kesenian Malang – JATIM
Kolaborasi seni bersama Noor Ibrahim di Gelar Akbar Taman Budaya Jawa Timur
Solo Performance Art “ Air Dan Lingkungan “ di Festival MATA AIR Salatiga – JATENG
Solo Performance Art “ Bidadari Berhati Iblis “ di ASRI Gampingan - Jogjakarta


Inari Virmakoski [Finland]


Iswanto GH [Indonesia]


 

H

Heru Hikayat [Indonesia]

Hong O-bong [Korea]

 

K

Khairuddin Hori [Singapore]
dhavusya_2@yahoo.co.uk

Krisna Murti [Indonesia]

SUPPER WITH FLIES AND WORMS +
MIGRASI ORGAN TUBUH


Video Performance

Kedua video performance ini dibuat tahun 1998, masa ketika reformasi pertama bergulir setelah kejatuhan Soeharto. Keduanya dinspirasikan situasi politik, menunjukkan realitas manusia : krisis multidimensi yang berujung pada disorientasi mental, hilangnya kepercayaan diri dan kebanggaan baik individu maupun kolektifitas. Kombinasi fiksi dan fakta yang menjadi ciri video dan aksi langsung kepada publik pada media performance, menjadikan publik dalam lapisan kesadaran : ruang privat dan sosiologis-politis, penonton dan pelibat, ekspresi artistik dan kejadian real.

Supper With Flies Worms menggambarkan situasi ketika bahan makanan raib di pasar hingga supermarket. Ini membuat manusia harus berjuang memperebutkan makanan bahkan dengan lalat dan ulat. Jemek (performance) terlihat hampir seluruh durasi – melalui ‘video konferensi’ – terlihat seperti dokter membedah tubuh manekin “Ibu Pertiwi” atau sebaliknya menjarah tubuh itu. Migrasi Organ Tubuh terlihat sebagai media untuk meruwat tubuh yang secara fisik bugar tetapi secara mental maupun spiritual displaced. Wawan S. Hoesin (performance) melakukan ritualisasi dengan memparelkan tubuhnya dengan tubuh kambing. Pendek kata, kedua video performance ini politis meskipun dengan pendekatan reflektif dan kontemplatif.


BIODATA
Lahir 1957. Tinggal dan bekerja di Jakarta/Bandung. Menyelesaikan studi di FSRD, ITB, Bandung. Merintis seni video sejak 1990, dan karyanya telah dipamerkan di sejumlah biennale penting Dunia seperti Gwangju, Korea (2000), Havana, Kuba (2000) dan Venesia, Italia (2005). Videonya juga telah ditayangkan di festival media baru Impakt, Utrech (Belanda, 2001) dan Transmediale, Berlin (Jerman, 2005). Video instalasi “Nenek Moyangku Orang Sangiran” (1997) dikoleksi Fukuoka Asian Art Museum, Fukuoka, Jepang (1999).
Selain praktisi, ia banyak menulis tentang video dan media baru di media massa di antaranya Art and Asia Pasific, Kompas dan Visual Art. Ia telah menerbitkan buku “Video Publik” (Kanisius, Yogyakarta, 1997).

 

J

Jacques van Poppel [Netherlands]


Jane Jin Kaisen [Denmark]

"Trans•mi•gra•tion"

Genre:
“Transmigration” involves various genres of performance art from conceptual and fluxus inspired performance strategies to lecture performance, live art, theatrical performance, and media integrated /
new media art performance.
The performance involves live performing, audio and video projection, Internet live streaming, and
audience participation in several locations simultaneously (Jakarta, New York, Amsterdam, perhaps
Copenhagen).
The intention is to integrate more “traditional” performance art practices drawing upon the ritualistic
elements of repetition, symbol, staging, and audience participations while at the same time integrating new
media art forms such as projection and Internet live streaming to question and complicate issues dealing
with presence / absence and documentation in relation performance art.

Performance Description:
Trans•mi•gra•tion [Trans-migration]
Drawing upon definitions of transmigration, the performance conceptually seeks to explore the
phenomenon of migration in social, historical, trans local, and universal contexts. The title of the
performance festival, “Birds Migration” as well as the theme “History and Today” and reflections on the
status of performance art is investigated in the performance.
Transmigration refers to The Transmigration Project in Indonesia and seeks to convey the after effects of
this, the world’s largest resettlement project and how it has deeply effected present day Indonesian society
demographically, environmentally, economically, and politically. The Transmigration Project can be seen
as a symbol for many of the major incidences and circumstances shaping recent Indonesian history and
present society: Dutch colonization, dictatorship, nation building, the IMF and World Bank, as well as
internal ethnic and religious unrest.
In addition, the term transmigration refers to the Transmigration of the Soul and the human desire to fly
and to transcend, thus commenting on forced as well as voluntary migration and the after effects of both in
present day society.
Intending to set up a live streaming web cam in New York, Amsterdam, and Copenhagen, having groups of
artists participate online, the performance seeks to further broaden the perception and perspectives of the
complex issues of migration, globalization, and presence in all the locations.

Email:
janejinkaisen@yahoo.dk

www.janejinkaisne.multiply.com


Jennifer Nelson [Greece]
Lives in Athens, Greece

studionelson@hotmail.com

Gallery Exhibitions (selected)
2006
Give(a)way
e v +a invited, - Limerick, Ireland, Katerina Gregos, curator
Feminine Sexuality - Les Bains:: Connective, Brussels, Belgium
2005
Info-Booth: Post-traumatic Institute - Los Angeles Contemporary Exhibitions, Los Angeles
for Social Satisfaction
The 10th Amendment Project-Carl Berg Gallery, Los Angeles
Marking Time-Los Angeles Contemporary Exhibitions and Getty Museum, Los Angeles
2004
medi@terra International Technology and Art Festival, Byzantine Museum, Athens
100 Artists See God-International Curators Exhibition Baldessari and Cranston, curators - anti-contemporary art festival Kuopio, Finland
2003
Compilation I -Kunsthalle Düsseldorf- Rosa Barber, Jeanne Faust, Jennifer Nelson
Stuff from LA and Other Places-Christine Koenig Gallery, Vienna, Skip Arnold,
curator An Interest In Life Apex Gallery, New York
2002
A Show that will show that a show is not only a show
The Project, Los Angeles, Jens Hoffman, curator
Beyond Music Sound Festival-Beyond Baroque Foundation, Los Angeles
WWJD-Cherrydelosreyes Gallery, Los Angeles
Full Nelson-Performance Festival at the Palace Theater, Los Angeles
Perch-Ancillary - Diannepruess Gallery, Chinatown, Los Angeles
2001
SEEING Los Angeles County Museum-Lab
Enthusiast C-level, Los Angeles
Beyond Baroque-Working Group Beyond Baroque Foundation, Los Angeles
Song Poems Cohan Leslie and Browne Gallery, New York
2000
Girls, Girls, Girls Hartsook House Gallery, Los Angeles
1999
LA Edge Festival Bergamot Station, Los Angeles
Time Time Time Durational Performance Festival, 12-hour performance, Toronto
MFA Thesis Exhibition New Wight Gallery UCLA, Los Angeles
1998
Elevator Steffany Martz Gallery, New York, Mungo Thompson curator
Seven Videotapes Ursala Krinzinger Gallery, Vienna, Paul McCarthy, curator

Actions (selected)
2002
Harmonic Engagement 3 part, site-specific, operatic debates
2001-3
Beyond Baroque Working Group on-going collective experiments
2000
Practicing McCarthy study and instructional sessions
1998
Attempted Symmetry in an Asymmetrical World Month-long attempt at symmetrical living
Symmetrical Eating Instructions Performances at UCLA Art Graduate Studios
1997
The Office Team Temps 3-day performance with hired temporary workers, Los Angeles
1996
Business Walk 8-hour performance at California Plaza, Los Angeles
Clock Performance with Glen Redpath, part of the “NAFTA Series”, San Miguel, Mexico

Experimental Choreographies
2005
Her Topia Choreographic video, collaboration with Christos Hassapis/ Giannis Nikolau, for a dance architecture project by Carol Brown/Dorita Hannah, Athens, Greece
2003-13
Dekalogue-Bill of Rights On-going inquiries into the social choreography between private and public bodies in the US Bill of Rights
2003
Pre-emptive Engagements Kunsthalle Düsseldorf, circulatory exercises with Michael Wilson/NatalieZimmerman
2000
Miss UCLA Y2K Royce Hall, Los Angeles producer/director Micol Hebron
1994
Motion Studies on-going experimental film
2000
director Mark Wilson
1993
Watersong Le Grütli , Geneva Switzerland dance collaboration with Cindy Van Acker Air Pockets and Other Moments Ballet du Grand Théatre de Genève's ‘Young Choreographers’ Geneva, Switzerland, dance collaboration with Stijn Celis

Awards
2003 Guggenheim Fellow for Visual Arts
2003 Artist in residence- Stiftung Laurenz-Haus, Basel, Switzerland

Curatorial Projects
2006
Psychic Disobedience and Esoteric Acts
Video/game exhibit, parallel event e v +a, Ireland
Library of Social Manifestations Open-call library in conjunction with Daghdha Dance Company and e v +a, Limerick Ireland

Publications and Bibliography (selected)
Kotsaras, Dimitri/Nelson, Jennifer, “The Limerick Cookbook”, e v + a, Ireland, 2006
“Feminine Sexuality”, ed. Blavier/Donck/Rossi, La Trame asbl., 2006
“Heartways – The Exploits of Genny O”, ed. Rita McBride/Erin Cosgrove, Arsenal Pulp Press, 2004
Nelson, Jennifer, “Reality Needs Changing”, Memorycage Editions, Kunsthalle Düsseldorf, 2003
“Corporate Mentality”, ed. Mir, Aleksandra, Lukas & Sternberg, New York, 2003
Michely, Viola, ‘Compilation I’, Kunstforum, Germany, March-May 2003
revival!, Issue 3, ed. Jennifer Nelson/Michael Wilson/Natalie Zimmerman,
Post-traumatic Institute for Social Satisfaction Press, Los Angeles, 2002
revival!, Issue 2, ed. Jennifer Nelson/Michael Wilson/Natalie Zimmerman
Post-traumatic Institute for Social Satisfaction Press, Los Angeles, 2001
revival!, Issue 1, ed. Jennifer Nelson/Michael Wilson/Natalie Zimmerman
Post-traumatic Institute for Social Satisfaction Press, Los Angeles, 2000
Murakami, Takeshi, ‘1998 Fall L.A. Art Scene News’, Studio Voice Multi-Media Mix Magazine, Japan, December, 1998
Thompson, Mungo, ‘Elevator’ catalogue, Steffany Martz Gallery, 1998
http://rhizome.org/netartnews/story.rhiz?×tamp=20041105
http://www.kunsthalle-duesseldorf.de/de/home.cfm?p=206&CFID=3585706&CFTOKEN=23796708
http://www.lacmalab.org/

http://www.ici-exhibitions.org/Exhibitions/100artists/100artists.htm

http://www.performanceart.ca/time3x/home.html


Teaching/Lectures/Workshops
Professor

2006-2007
Hellenic International Studies in the Arts, Paros, Greece Studio for Interrelated Media: “Odyssey, Perception and Time-based Media” Theories of Art

Guest Lecturer
2006
Limerick School of Art and Design, Limerick Ireland The Limerick Cookbook
2004
Hochschule der Gestaltung, Basel Presenting an American – a talk about recent work and influences
2002
Hammer Museum, Los Angeles and Vid/Art, UCLA Manifesto for November 19th-
a talk about recent work and influences

Art Workshops
2004
C-Level Gallery, Los Angeles Psychic Disobedience –Workshop for Artists
2001-03
Developer and facilitator of the following workshops for the Beyond Baroque Working Group
Traumatic Re-enactments Game
Experiments in Multi-Nodal Thinking

Organizations
Co-founder of the Post-traumatic Institute for Social Satisfaction
Member of the Beyond Baroque Working Group

Professional Dance Experience (selected)
1991-3
Dancer - Ballet du Grand Théatre de Genève, Geneva Switzerland
Gradimir Pankov, director
1987-9
Dancer - Feld Ballet, NYC
Eliot Feld, director/choreographer

Education
1999
MFA University of California, Los Angeles Department of Art- New Genres John Baldessari, Chris Burden, Paul McCarthy advisors
1996
BFA San Francisco Art Institute, New Genres Kathy Acker, Paul Kos advisors
1992-94
École Supérieure d'Art Visuel, Geneva 3-dimensional work
1993
École des Beaux-Arts de la Ville de Paris: Summer workshop in Bordeaux Thierry de Duve director

Education- Movement/Performance
Ballet: Maggie Black, The Joffrey Workshop, Pennsylvania Ballet School, Evanston School of Ballet
Contemporary: Ohad Naharin, Mari Kajiwara
Butoh: Minako Seki, Yumiko Yoshioka
Boxing: Sonny Marson, Ernie Marson
T’ai chi: Mr. Leung
Yoga: Jasmine Lieb, Chuck Miller, Alexander Technique

Jeremy Hiah [Singapore]

Juliana Yasin [Singapore]

Juliana Yasin is Singaporean and she was a student at Lasalle College of the Arts, Singapore from 1989-1990. She left the college halfway to pursue her studies in Western Australia in 1993. She graduated with a Diploma in Fine Art from Claremont Art School (T.A.F.E) and Bachelor of Visual Arts from Curtin University in Perth, Western Australia. An active member of The Artists Village and Plastique Kinetic Worms, she is also the Singapore based researcher with Asia Art Archive in Hong Kong. She has worked with Plastique Kinetic Worms as a gallery administrator and taught at Central Saint Martins (The London Institute) based at Kolej Bandar Utama in Kuala Lumpur, Malaysia.

http://jy1970.tripod.com


 

M

Melati Suryodarmo [Indonesia/ Germany]
Wiedenkamp 109
38159 Gross Gleidingen
Germany
Ph: +495300930297
fax: +4953009019187
melatti@hotmail.com

Mukmin Soge Ahmad [Indonesia]

 

L

Lee Wen [Singapore]

Lina Adam [Singapore]

 

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Nani Kahar [ Malaysia]

Nezaket Ekici [Germany/ Turkey]
Performance : "Apeiron"
[This Performance is very new,
She did last month in Germany and people was impressed.
It works with Art historian context.
It is suerall and very intense]

Performance/Installation
"Monsun"
16-17-18 December 2006
JatiwangiArtFair [JaF]-Cirebon
Artist in Residency

Motivation and Idea
In the performance/Installation “Monsun” The artist wants to present a dream like situation. This performance deals with dreams, which is represented by a virtual rain, caused by the dripping of water of wet clothes, placed all in the exibition room. As the water drips down, it also hits the umbrella. Normally one can not hear the dripping water, dispite one stands very near to this place. The artist wants to the viewer to become a part of this dream by involving him not only by means of visibility but also accustically.
This scence is unreal, although it is composed of real elements. As well a dream includes those elements, what perhaps will allow the viewer to follow the artist for a short time into his dream world. Eventhough surreal impressions dominate this work, a social meaning is implicit. The clothes in the exibition, normally standing for the picture a person gives of himself in public, now turns out to be nothing but a useless and dysfunctional inhabitant of exibition room. It is a confrontation of aspects created by human culture and the nature itself, symbolized real grass. The clothes try hard to become more natural by storage up water.

Performance
The artist moves slowly under the clothings, holding an umbrella. In exibitionroom wet clothes places under the ceiling with a metal string construction. The water drips down, while the artist is standing under the field of real grass, with an open umbrella in her hand. The sound of the dripping water is enhanced by a microphone placed at the top of the inner side of the umbrella.
Duration of the Performance: 1 hour

Construction:
40 clothes or more are with coathanger is installed under ceiling with a metal string construction.. The dress will hang wet.
In the umbrella is installated func microphone.
About boxes is installed near to exibition room, you will hear the sound drops around.


www.ekici-art.de

 

P

Peter Grzybowski [Poland]
Peter Grzybowski, New Performances in Indonesia*
"Bird Migration" Indonesia International Performance Art Event 2006
*
Galeri Nasional Indonesia in JakartaJl. Medan Merdeka Timur 14, Jakarta 10110
*
December 8, 2006 - performance
*
More events in Jatiwangi-Cirebon and Bandung
*
Information:http://iipae2006.blogspot.com
+62 021 348 33 954
http://grzybowski.org
*
Special thanks to the First Secretary of the Embassy of Republic of Poland in Jakarta

http://grzybowski.org
80 Varick Street Suite 2D
New York, NY 10013
Phone / Fax: 212 219 84-24
peter@grzybowski.org


Prilla Tania [Indonesia]

 

O


 

Q


 

R

Rahmat Haron [Malaysia]

Ray Langenbach [USA/ Malaysia]

Razif [Malaysia]

Rizman Putra [Singapore]

Roi Vaara [Finland]
Performance

THUNDER MAN

Description of the work:
A man is covered by black balloons. Only his black pants and black shoes will be seen. The man strolls slowly in a public space. A sound of
thunder is heard. At the end the performer cuts ups the threads and the balloons will fly one by one to the sky.

Needed:
A bottle of helium, big enough to fill about 200 balloons of the size about 30 cm each an indoor space to inflate and attach the balloons the clothes 1-2 persons to help in this work (I did it ones alone and it took 5 hours) an open square or other public place with other pedestrians.

This performance could last from about one 40-50 minutes to a few hours.


Roi Vaara — CV

Roi Vaara is one of the most internationally recognized performance artist from Scandinavia. He was born in 1953 in Moss (Norway), but was grown up in Helsinki, Finland, where he has caused constant controversy in the art world and cultural life since the early 80s. His critical point of view is not to attract public sensation but to challenge the way we are looking at things.

Vaara studied in the University of Art and Design 1972—75 in Helsinki and art research in Jyväskylä University 1976—77. He is one of the founders of Muu ry (1987), an artist run interdisciplinary artist association in Finland and the proposer and one of the founders of IAPAO (International Association of Performance Art Organizers) in Essen 2003. Vaara has organized and curated performance events, i.e. "Poikkeustila", the first performance festival which gathered the artists from the whole Finland in 1999. In 2001 Vaara organized performance festival "EXIT" in Helsinki, which assembled about 300 artists from more than 30 countries. Vaara received a state
award from Arts Council of Finland in 2000 and Ars Fennica prize in 2005.
Vaara was selected in Künstlerhaus Bethanien’s international atelier programm in 1997—1998 in Berlin, Germany.

Vaara has made performances since 1982. Since 1988, Vaara has participated in performances of Black Market International (BMI), whose work proposes performance art as a simultaneous form of communication. Vaara has performed in the most prominent performance art festivals in the world and also in Kassel dokumenta, Germany (1993), Venice Biennal, Italy (2001, 2005), Havana Biennal (2004), and Manifesta 5, San Sebastian, Spain (2004). Until now Vaara has presented more than 300 different performances, that has taken
place in about 200 international exhibititons/festivals in 35 countries. In 2005 his large body of works was first time collected and showed for the general audience in his Ars Fennica retrospective in Amos Andersson Art Museum in Helsinki. Vaara lives in Helsinki.

Roi Vaara
Tallberginkatu 1 E/105
FIN - 00180 Helsinkitel: +358-44-3301115

 

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Saiful Razman [Malaysia]

Sallabi [Indonesia]

Santo Klingon [Indonesia]

Slamet Gaprax [Indonesia]

Sophia Natasha Wei [Singapore]
migration of the soul

the performance deals with where the soul goes to after death. as a christian and a chinese who grew up with traditional cultures of burning money paper and joss sticks, I investigate the dialogue between culture and religion. are such practices carried on generations after generations blindly? Where is the true understanding of such? Is there already an imagined notion of our lives' relationships with life after death with the manifacture of money paper for the people to use after death?

www.sophianatasha.blogspot.com

President of The Artist Village - Singapore
www.tav.org.sg



S S Listyowati [Indonesia]
"trans-heart-inner-section"
collaboration
with
Ray Sahetapy [photographs+motion pictures]

setting by

Dian 'Botak' & his gank

Biodata:
Phone
: +62/0 852 172 92179
e-Mail :
atieq_s@yahoo.com

atieq.blogspot.com
appreroom.blogspot.com
observeperformanceart.blogspot.com
iipae2006.blogspot.com

atieq



 

T

Teguh Ostenrik [Indonesia]

Tiarma Sirait [Indonesia]
Komp. PPR - ITB Blok F no.10
Dago Bengkok
Bandung
40135
INDONESIA
email: polengstudio@yahoo.com

http://www.hb.se/press/Meddelande/2006/20060602.htm
http://www.actionfactory.org/html/C21ArtistsResidency_213.html
http://www.framtidskonsten.se/hybris/pers/tiarmaS/tiarmas.htm
http://www.artistclothing.com/ac/?p=63
http://www.aloeplus.dhw-cpi.jp/
http://www.aaa.org.hk/newsletter_fukuokatriennale2005.html
http://commonroom.info/bcfnma/afterparty.html
http://www.aiaa.org.au/news/news11/berlima/berlima.html
http://articles.ibonweb.com/magarticle.asp?num=595
http://www.art-havana.com/bienal/gprog.asp
http://www.geocities.com/StudioPoleng

NAME: TIARMA DAME RUTH SIRAIT
DATE & PLACE OF BIRTH: Oct. 14. 1968 - Bandung, Indonesia
Komp. PPR-ITB Blok F-10
Dago Bengkok
Bandung 40135
INDONESIA

Email:
polengstudio@yahoo.com & tiarma@gmail.com
P: +62 22 2504013
F: +62 22 2516473
Mobile: +62 819 3141 3838

EDUCATIONS:
2004-06 University College of Borås, Master in Fashion & Textile Design
1988-94 Bandung Institute of Technology (ITB), Faculty of Art & Design, Textile Design Studio (Graduated)
1996 Royal Melbourne Institute of Technology (RMIT), Fashion Design Studio (Graduated)
1987-88 Maranatha Univ., Bandung - Psychology Department (First Year)
1987 Bandung Design Education Center (BDEC), Fashion Design Course (Certificate of Completion)

INTERNSHIPS:
1996 Lucrezia & De Sade, Melbourne – AUSTRALIA
1993 Joh. Backhausen & Soehne Firm, Hoheneich - AUSTRIA
1992-93 Herose Firm, Konstanz - GERMANY
1992 Seiden Sticker Firm, Bielefeld - GERMANY

1997-now Founder and Owner of private Fashion Studio: POLENG, Bandung – INDONESIA

RESEARCHES ON TEXTILE & FASHION DESIGN:
2005 Cultural Journey to Siwa, Sahara, Alexandria & Cairo - EGYPT with Prof. Christina Rinaldo from Textilhögskolan I Borås – SWEDEN
2002–03 Art and Fashion in several countries in EUROPE
2001 Batak Traditional Weaving in North Sumatra – INDONESIA, organized by Arjuna Foundation for Education & Community Development
2000 Indramayu Batik in Paoman, Indramayu (West Java) – INDONESIA
1999 Balinese Traditional Textile & Clothing in Bali - INDONESIA
1999 Jambi Traditional Textile in Jambi (Middle Sumatra) organized by Bina Lestari Budaya Foundation Folk Craft Center: Selaras Pinang Masak & Jambi National Handicraft Department
1998 Textile & apparel design at PT. Daya Indosa Pratama, Bandung - INDONESIA
1997 East Timor Traditional Textile in East Timor, organized by Christian Univ. of Indonesia & Local Government
1994 Chinese Traditional Clothing, Fabrics & Crafting in CHINA
1992&93 Prepared my thesis: Comparative Design of Nusa Tenggara Timur & Uzbekistan Textile in RUSSIA

AWARDS:
2004 STINT Program for studying master in Fashion & Textile Design at University College of Borås – SWEDEN
2002 Indonesian Finalist for Concours International des Jeunes Createurs de Mode 2002 at Carrousel du Louvre, Paris – FRANCE
2002 Ten Best Winners of Fashion Designer Competition (Concours International des Jeunes Createurs de Mode 2002 organized by DEWI Magazine at Mulia Hotel, Jakarta – INDONESIA
2001 Best Student of the In – Country “Training on Garment Design & Fashion Aesthetic” for Small & Medium Enterprises, organized by JICA (Japan International Cooperation Agency), ITT (The Institute for Research & Development of Textile Industry) and Deperindag (Department of Trade & Industry Republic of Indonesia) at ITT, Bandung - INDONESIA
1997 Ten Best Winners of Fashion Designer Competition (LPM’97) at Borobudur Hotel, Jakarta - INDONESIA, organized by FEMINA Magazine
1987 First Award of Fashion Show Competition in Bandung - INDONESIA, organized by BDEC.

WORKSHOPS:
2006 Lighting Design with Anna Sjöström at Textilhögskolan I Borås – SWEDEN
2006 Costume Making conducted by my self at Blackburn Museum, Blackburn – ENGLAND
2005 Costume Making conducted by my self at Open Studio, Fukuoka Asian Art Museum, Fukuoka - JAPAN
2005 Functional Wear: Travel Wear with Jane Mc. Cann fom University of Wales – ENGLAND & Sirpa Morsky from Hame Poly - FINLAND
2005 Performance & Installation with Fredric Gunve about Bird, Fish or in Between (Three is the number that will follow you through your search for truth and salvation in this world) at Textilhögskolan I Borås – SWEDEN
2004 Nude painting with Mario Massanyi, Drapery with Karin Hög and Fashion Illustration Technical with Kim Halle & Annika Almqvist at Beckman School of Fashion, Stockholm – SWEDEN
2004 Fashion Accessories with Professor Tonci Vladislavic, Faculty of Textile Technology University of Zagreb, about Researching New Shapes at Textilhögskolan I Borås – SWEDEN
2002 Onnagata with Didik Nini Thowok with his Kabuki lecture, Prof. Richard Ermert at Fabriek Gallery Bandung – INDONESIA, organized by the Japan Foundation
2001 FAUST Literature with Manfred Linke from Berlin – GERMANY at Goethe Institute Bandung – INDONESIA
1999 Okinawa Traditional Textile with Nana Miyagi from Okinawa - JAPAN, organized by the Japan Foundation
1999 The Art Exhibition Management with Christine Clark from Asia link, organized by Lawang Art Foundation & Soemardja Gallery, Bandung Institute of Technology (Faculty of Art & Design) at ITB, Bandung - INDONESIA
1994 The Geometry of Regular Repeating Patterns with Prof. Michael Hann from Leeds Textile University, ENGLAND
1990 Scandinavian textile & explored practice on idea visualization of Flora Textile Design with Prof. Hans Krondahl from University of Gotenborg, SWEDEN

SEMINARS:
2006 Lecture "Designing for Vivienne Westwood" by Martina Glomb, Professor in Fashion Design
2006 Smart & Intelligent Materials FOCUS: Sport & Leisurewear with Prof. Marion Ellwanger at Textilhögskolan I Borås – SWEDEN
2006 Academic Writing Inspiration with Marcus Bergman at Textilhögskolan I Borås – SWEDEN
2006 Techno Textiles 1&2 with Sarah E. Braddock Clarke, London – ENGLAND
2006 Textile Cultural Heritage (Egyptian-Swedish Seminar) at the Bibliotheca Alexandrina, EGYPT
2006 Travel Report from the Design School in Kolding, Denmark with Prof. Lars Hallnäs
2006 Artist Clothing with Ulrika Gunnarsdotter & Kajsa G Eriksson
2005 Synthetic Love’s project as a part of Industry-Related Design Project conducted by my self at the Swedish school of Textiles, University College of Borås
2005 Aesthetic of Textile Patterns in area of Smart Textiles with Linda Worbin at the Swedish School of Textiles, University College of Borås in cooperation with the Department of Computer Science and Engineering at Chalmers University of Technology.
2005 Electrical Signal Transmission in Textile Structures with Eva Samuelsson
2005 Pin & Play with Henrik Jernström from Lancaster University Computing Department
2005 Design Challenges about Extra Ordinary Fashion Design, the New Demand of Today’s Customers with Eric Wilkinson (Merchandise Manager, Nieman Marcus-USA) about Please, no boring products! Fashion Retailers need Innovation, with Simonetta Carbonaro (Design Management, The Swedish school of Textiles, University College of Borås) about The New Luxury of Alice in Real-land and with Nicoletta Morozzi Branzi (Fashion design Muji, Japan - Politecnio University of Milan) about Quality & Luxury at hand
2005 Made in Italy with Maia Guarnaccia from YOOX - Bologna, Ampelio Bucci from Domus Academy - Milano, Mario Trimarchi - Milano and Simonetta Carbonaro from Textilhögskolan i Borås
2002 Visual Culture as practice and its various Approaches with Amanda Katherine Guimeraiz-Rath, Ph.D. Candidate Cornell University, organized by Bandung Institute of Technology (ITB) Faculty of Art & Design at ITB, Bandung – INDONESIA
2002 Decoding & Working with Signs & Fragment with Carolyn Black (UK) and Julia Neuenhausen (Germany), organized by Lawang Art Foundation & Soemardja Gallery, Bandung Institute of Technology Faculty of Art & Design at ITB, Bandung - INDONESIA
2001 Looking for the meeting point between business world & NGO world organized by Ashoka Foundation at Panghegar Hotel, Bandung - INDONESIA
2001 Goethe’s “Faust” on the contemporary stage with Dr. Manfred Linke organized by Goethe Institute & DAAD at Indonesian University, Jakarta – INDONESIA
1999 “Milleniart”, theme: Celebration of the Origin, In Honoring the Diversity at Masyarakat Seni Pertunjukan Indonesia (MSPI) Festival, Tirtagangga - Karangasem, Bali – INDONESIA
1999 Jambi Art Performance, organized by Art Centre of Jambi: Kajanglako in Jambi, middle of Sumatra - INDONESIA
1994 Asian Student Seminar, theme: Think Globally Act Locally at Assumption Univ., Bangkok - THAILAND
1994 Legong Appreciation, theme: Legong dance in the past, now and its future, organized by Studio Rumah Pertunjukan Bandung (SRPB)
1994 Fine Art in Post Modern Context, organized by ITB
1994 Joseph Beuys Performance discussion, organized by the Goethe Institute - Bandung & Studio Rumah Pertunjukan Bandung (SRPB)

TRAINING:
2001 The In – Country Training on Garment Design & Fashion Aesthetic for Small & Medium Enterprises, organized by JICA, ITT and Deperindag

SPEAKERS:
2006 Iketeru Harajuku at Japan Foundation, Jakarta – INDONESIA
2005 Artist talks at the Fukuoka Asian Art Triennale 2005 at Fukuoka Asian Art Museum - JAPAN
2003 Artist talks at the 1st CP Biennale at National Gallery, Jakarta – INDONESIA
2002 Posthuman Exhibition at CCF Bandung – INDONESIA
2000 West Java Batik Convention I at Horizon Hotel Bdg – INDONESIA

TUTOR:
2006 VÄFSKOLAN (the Weaving School) at Textilhögskolan I Borås – SWEDEN

ARTIST IN RESIDENCIES:
2006 Blackburn Museum & Art Gallery and Action Factory, Blackburn – ENGLAND
2005 Fukoka Asian Art Museum, Fukuoka - JAPAN

ART EXHIBITIONS:
Solo Exhibitions:
2006 GLOBAL vs. LOCAL (Installation) at BE-MALL, Bandung – INDONESIA
2004 AFTER PARTY (Installation) at Common Room, Bandung Center of Media Arts, Bandung – INDONESIA
2004 ME, MY SELF & BARBIE’S SMILE (Installation) at Potluck Coffee and Bar, Bandung – INDONESIA
2001 SWEET LOLLY (Installation & Fashion Performance) at Kedai Kebun Gallery, Yogyakarta – INDONESIA

Group Exhibitions:
2006 BIRDS MiIGRATION: A Study in History of Performance Art and Its Management, organized by Indonesia International Performance Art Event 2006 at National Gallery, Jakarta - INDONESIA
2006 FRINGES part of ART-O-RAMA Festival together with 50 Indonesian Young Artists at TOIMOI Gallery, Jakarta – INDONESIA
2006 BANDUNG ART NOWADAYS at Common Room, Bandung Center of Media Arts, Bandung – INDONESIA
2006 SYNTHETIC LOVE Fashion Performance as a GRAND OPENING of the IKETERU HARAJUKU Fashion Competition at the Japan Foundation, Jakarta - INDONESIA
2006 The 10th JAKARTA BIENNALE
: Beyond: Limits & Its Challenges at National Gallery, Jakarta – INDONESIA
2006 MOVIE on 10 VIDEO ART EXHIBITIONS at Cemeti Art Foundation Library, Yogyakarta - INDONESIA
2006 PARALLEL REALITIES: Asian Art Now at Blackburn Museum & Art Gallery, Blackburn – ENGLAND
2005 The 8th JOGJA BIENNALE (Consciousness of the Here and Now) at Jogjakarta - INDONESIA
2005 FASHION KNITTING PERFORMANCE at Opera Academy, Goteborg - SWEDEN
2005 The 3th FUKUOKA ASIAN ART TRIENNALE 2005 at Fukuoka Asian Art Museum, Fukuoka – JAPAN
2005 BIRD, FISH & IN BETWEEN at Swedish School of Textile in Borås – SWEDEN
2004 TEXTILHOGSKÖLAN OPEN HOUSE at Swedish School of Textile in Borås at SWEDEN
2004 POSTING FIBER at Bentara Budaya Jakarta & Galeri Kita, Bandung – INDONESIA
2004 VISUAL DJ at Swedish School of Textile in Borås – SWEDEN
2004 EXPERIMENTAL PRINTING at Swedish School of Textile in Borås – SWEDEN
2004 PERFORMANCE ART ARTEFACT EXHIBITION, the 2nd IAPAO (International Association of Performance Art Organizers) at Galeri Kita, Bandung – INDONESIA
2004 BEYOND PANOPTICON Art and Global Media Project at Bandung Electronic City – INDONESIA
2003 The 8th HAVANA BIENNIAL at Pabellón Cuba Havana – CUBA
2003 BANDUNG PERFORMANCE ART FESTIVAL#2 (BaPAF#2) at Landraad Building, Bandung – INDONESIA
2003 THE 1st CP BIENNALE at National Gallery, Jakarta – INDONESIA
2003 GIRL’S TALK at Edwin Gallery, Jakarta - INDONESIA
2003 CHILDHOOD OBJECTS EXHIBITIONS at Cemara 6 Gallery, Jakarta – INDONESIA
2003 JakArt@2003, INTERNATIONAL ART & CULTURAL FESTIVAL, theme: Struggle and Creation at Erasmus Huis, Jakarta – INDONESIA
2003 APRIL FESTIVAL: Let's Free to Create at Taman Ismail Marzuki, Jakarta – INDONESIA.
2002 TALI IKAT: FIBER CONNECTIONS, oganized by Cemeti Art Foundation, at Taman Budaya Yogyakarta, INDONESIA
2002 THE RHIZOME EXHIBITION at British Council, Jakarta – INDONESIA.
2002 EXHIBITION of 5 FIBER ART ARTISTS at Lontar Gallery, Jakarta – INDONESIA
2001 BANDUNG ART EVENT: Message of Medium (Contemporary Art Craft Exhibition) at ex Dutch Konsuler building, Bandung - INDONESIA
2001
JakArt@2001, International Art & Cultural Festival at Bentara Budaya, Jakarta – INDONESIA
2000 BANDUNG PERFORMANCE ART FESTIVAL (Ba-PAF 78910) at Barak Gallery, Bandung - INDONESIA
1999 IPOH ARTS FESTIVAL IV ’99 , organized by Perak Arts Foundation at the Perak State Library Corporation, Ipoh - MALAYSIA
1999 INDEPENDENCE COMIC DECADE, organized by KMSR – ITB & Indonesian Comic Community at ITB - East Hall, Bandung - INDONESIA
1999 WEARABLE TOURING EXHIBITION at Bentara Budaya Yogyakarta and Sika Contemporary Art Gallery in Ubud, Bali – INDONESIA


Tang Da Wu [Singapore]


 

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Yoyoyogasmana [Indonesia]
265.South 2nd Street.
Brooklyn.
New York 11211
mobile : (718) 594 6603
yoyoyogasmana@yahoo.com
yoyoyogasmana

http://www.yoyoyogasmana.multiply.com
http://www.yoyoyogasmana-performanceart.blogspot.com
http://www.flickr.com/photos/yoyoyogasmana
http://www.youtube.com/user/Yoyoyogasmana


Yustoni Volunteero [Indonesia]
Judul : KAMAR UNTUK MBAK ATIEK (ANTARA AKU DAN PEJENG)

Konsep karya :
Aku sekarang hidup pindah di sebuah desa yang bernama Pejeng, Bali. Disana bersama kawan-kawanku membuat yayasan pembangunan desa. Yang bernama ‘INSTITUT OF PEJENG’. Yang kami kerjakan bersama masyarakat sekitar Pejeng adalah menanam pohon bunga anggrek, sayuran, tanaman-tanaman obat dan tanaman bunga-bunga yang lain seperti kamboja, bunga sepatu, kenanga dan lain lain. Serta tidak lupa kami pun membuat pupuk kompos dan bertenak bermacam binatang seperti lele, kaper,anjing,angsa,burung merpati juga ada.Dalam berproses disana aku banyak menemukan hal-hal yang menarik untuk aku ceritajkan kepada orang lain dan cerita ini aku persembahan dalam sebuah seting kamar yang aku imajinasikan dan dibuat-dipersembahkan untuk kamar mbak atiek. Dan orang-orang yang mengunjungi kamar tersebut adalah para pelaku happening interaktif massal itu sendiri

 

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Zane Trow
"Marcuse/Utopia Future/Past"

Artistic Director - Live Art Asia
Associate Professor - Performance Innovation
Queensland University of Technology: Creative Industries
http://www.creativeindustries.qut.edu.au
QUT Creative Industries
Victoria Park Road
KELVIN GROVE Qld 4059
Australia

Chairman - Multimedia Arts Asia Pacific Festival
http://www.maap.org.au

Composer/Sound Artist/Createur
http://www.pitchforkmedia.com/record-reviews/t/trow_zane/for-those-who-hear-actual-voices.shtml

Ph: Performance Studies: (617) 3864 3310
Mbl: 0423 054 740
Fx: 61 7 3864 3975
z.trow@qut.edu.au

Now the sun can sun burn you but
Not as bad as those old people do, yeah.
Don Van Vliet (aka Captain Beefheart).

Zane Trow
Live Artist
Trow was born in London in 1956, studied experimental composition, and established an experimental performance company at Chapter Arts Centre, Cardiff, in the late 1970s. By the early 80s he returned to London to perform with Common Stock Theatre Company. With that London based visual performance and community Theatre Company he was Assistant Director, Youth Theatre Director and Composer in Residence for nine years touring professional and community based interdisciplinary work across the UK. He was also co-founder (with Director Chattie Salaman and Actor Katherine Hunter) of Theatre-Image-In-Aire an Anglo/French company established to stage the work of absurdist play write Romain Wiengarten.

He arrived in Australia in 1989 to become Theatre Coordinator and CEO and Centre Director of Footscray Community Arts Centre, one of Australia's largest and most respected community arts centres. In 1991 he was appointed CEO and Artistic Director of Melbourne's Next Wave Festival. Throughout this time in Melbourne Trow was Chairman of the Contemporary Music Events Company staging events for Melbourne Festival and Sydney Festival by Australian artists (Kosky, Chesworth, Bridie, Harvey, Mills and others) and international artists (Gavin Bryars, Stockhausen and others).

In 1997, Trow became the Chief Executive Officer and Artistic Director of the Performance Space in Sydney, working in contemporary multi-media and contemporary performance. From mid 1999 to late 2002 he established and opened the Brisbane Powerhouse – Centre for the Live Arts as inaugural CEO/Artistic Director. He then ran the Public Art program as Artistic Director for the South Bank Corporation and established the Energex Contemporary Art Prize. He is currently the Chairman of the Multi Media Arts Asia-Pacific Festival and of Youth Arts Queenland.

His work as a curator and artist in live art and new media has involved major projects with the National Gallery of Victoria, the Art Gallery of NSW, the Victorian Arts Centre, QUT, RMIT University, Scienceworks and the Sydney City Council. He has studied Kathakali drama in India and toured computer and media art to Singapore, Malaysia, Taiwan and India. As a sound artist and performer Trow works with a combination of keyboard improvisation (through pure frequency modulation synthesis), complex digital delay systems and lap top computer processing. Recent electronic sound and music includes installations for the Centre for Contemporary Photography and the Melbourne International Arts Festival, synthesizers, devices & delays for George Telek (an ARIA award winning CD), sound art for the ABC Listening Room and voice compositions for theatre. Recent live performances in Brisbane include concerts at the Institute of Modern Art and for the Liquid Architecture Festival. His recent CD release (on Room 40 records) “For Those Who Hear Actual Voices” has received wide critical acclaim in the USA, Europe and Japan.

Current work at QUT Creative Industries includes live art research and international project development, post graduate studio development, creative development processes for performance, sound installation and composition, multi arts project curatorial services, arts management training and cultural policy activism – he has presented at numerous arts conferences here and in Europe. He is working on a series of interdisciplinary live site specific art, sound and installation projects (with Donna Jackson, Lawrence English, Scanner and others).

z.trow@qut.edu.au
www.maap.org.au
Mbl: 0423 054 740


Zane Trow

Performance for Birds Migration: Indonesia International Performance Art Event

Title: Marcuse/Utopia Future/Past

Duration: Approximately 20 minutes

Technical requirements: A small table and a chair. Access to mains power. A small stereo PA system.

Description:

The performance will use physical gesture, live improvised sound art and the recorded voice of political philosopher Herbert Marcuse. The artist has been working with these recordings (with the permission of the Marcuse family) for the past 12months in a variety of live contexts.

The performance will examine the resonance of utopian and anarchic ideas exemplified and manifested in the actions and aspirations of “performance art” in history and “live art” in the present.

Can a world beset by competing ideologies be reconciled through art actions?
Or is the gesture of performance but a passionate and futile act of socio/cultural defiance?

Notes:

I would prefer to perform at night, in darkness, and outdoors, but this is a preference not a requirement.
The performance will not be very “loud” but it swill be “sonic”.

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