In chapter 2, I will go straight to the rest of the works by artists who passed the curation process.
For a long time, the issues faced by indigenous peoples have always been sidelined and it seems as if the wider community has been told to forget about them, but artist Zakaria has brought this social issue back to the forefront. Zakaria raises the issue of the Dayak indigenous people defending their ancestral lands and protecting the forest from deforestation and industrial exploitation. Obviously, Kalimantan is one of the forests touted as the lungs of the world and has lost approximately 1.23 million hectares in a span of 5 years (2000-2005).
Luna, an artist, displays a long row of connected infusion bottles in response to mental health issues and collective burdens in the digital and globalised era. This is a representation of a phenomenon where people are physically connected but feel emotionally isolated.
The installation uses medical NaCL infusion bottles. Each bottle connected by a tube illustrates how mental burdens are spread among individuals. This work also serves as a critique of instant solutions to mental health issues, such as short-term therapy that does not address the root of the problem. Oberlan invites the community to reflect on the value of collective support for long-term and deep mental healing.
Fauzan created this work when he saw a homeless person sleeping on the sidewalk in front of a shop, which brought back memories of when he had suffered a similar fate. The medium Fauzan used was cardboard as a symbol of the fragility and uncertainty of life. Meanwhile, small pieces of cardboard arranged randomly and chaotically symbolise the fragments and complexity of life that are difficult to predict. Fauzan invites visitors to be more caring and to rethink their humanistic side. There are many things we need to pay attention to in our environment.
Resin, wood, organza ribbon, synthetic hair rolls, and a video. Audya presents her grief over the passing of her sister. The grief she faces is like a black ball rolling around in her chest, suffocating her. Audya considers grief to be like a baby that must be cared for, even though it is exhausting. Audya uses organza ribbon, which is often present at moments of joy and sorrow, as a metaphor for the struggle to find happiness after grief. The creator also invites visitors to continue living, just as we must continue to live with our grief.
Suvi presents a work as a meaning of reconciliation by combining art, history, and tragedy. Suvi created this as a response to the Sambas ethnic conflict in 1999.
The billboard in this work is a symbol of the demand for peace, with portraits of two young children from different ethnic backgrounds. Suvi uses melancholic aesthetics to respond to painful experiences that are difficult to resolve through law, creating a space of hope and reflection for everyone.
Suvi's work was also named the winner of the Basoeki Abdullah Art Award.
Another winner in this event is Syaura's work. It began with the creator's experience with Lokananta in a digital archiving project that was held from 2014 to 2016. Syaura found a lot of unpublished audio archives, including several traditional Indonesian songs influenced by Latin American and Caribbean music. This work created a new way of bringing historical archives to life through eight archipelago songs, one of which is titled SIN SIN SO, presented in a karaoke video format.
There are many other works. I will only attach photos of the works whose creators and contributions I forgot to note down. I apologise for the incomplete information. But, believe me, this is a very good exhibition and it knocked on the door of my consciousness, I don't know on which level, about many things around me. Thank you for reading my writing, see you in my next post. Please enjoy the charming works at the Basoeki Abdullah competition. See you later.
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