According to Rosalind E. Krauss, the notion of the new in the art field is epitomized by the Avan... more According to Rosalind E. Krauss, the notion of the new in the art field is epitomized by the Avant-Garde Movement. In The Originality of the Avant-Garde, 1 Krauss argues that the movement disrupts traditional art by imposing the existing structure with a new structure of reality. An originality. The disruption is not only a revolt against tradition and an absolute dissolution from the past but a literal origin, a beginning from ground zero. 2 'Only he is alive who rejects his convictions of yesterday.' pronounced Kazimir Malevich, the Russian avant-garde artist and theorist. To conduct their mission, the avant-garde artist conceives this notion of originality from a ground of repetition and recurrence. The prominent instrument that emerges from such operation is the grid. The grid operates in silence, and yet, is hostile to any narrative. Its presence destroys hierarchy and centre. 3 The Grid is one of the most effective and common instruments for drawing a new structure, to conceive an 'an originality.' James C. Scott in Seeing Like a State 4 argues that such utilitarian logic works hand in hand with labour productivity in colonization. 5 Nevertheless, instead of artists, the proponent of this agency is a society of which Scott called 'the high-modernist society'. This society embraces technology and science as their world view and way of life. They might not have good literacy and familiarity with science and/or technology. Yet, they have a strong belief that both are the only way to be progressive and modern. Therefore, according to Scott, instead of practical intervention, the exercised imposition is an ideological one. 6 The new lines of colonization are drawn by imposing another world view or system of knowledge-an epistemic imposition. Such imposition, in the context of colonization, operates similarly with the case presented by Kraus. 'Modern' is a politicized term embedded with the notion of new, especially within colonization, 7 it is also the Avant-garde's propaganda of Originality. The colonist deemed to displace the existing structure of subjugated land as a disruption signifier between the old way and the new way. This redrawing operation in the context of colonization comes in various forms. Rudolf Mrazek called building projects as the Tower, recalling 1 Rosalind E. Krauss, The Originality of the Avant=Garde and Other Modernist Myths. ,
Tulisan ini mungkin tidak bisa disebut sebagai tulisan kritik tapi lebih sebagai catatan pemikira... more Tulisan ini mungkin tidak bisa disebut sebagai tulisan kritik tapi lebih sebagai catatan pemikiran saya tentang Pameran Arsitektur: Sebuah Sekuel. Oleh karena itu memang bukan tujuan saya untuk mengulas satu demi satu karya yang dipamerkan. Bagi saya modus representasi dari pameran ini adalah bagian yang paling menarik dan harus diapresiasi terlepas dari banyak aspek yang bisa dicermati. Catatan ini pun akan banyak menanggapi masalah ini. Secara sederhana tulisan ini tersusun dalam tiga bagian: 1. Representasi, 2. Kuratorial, dan 3. Pameran. Bukan sebuah pembagian yang sistematis tetapi hanya meruntutkan pemikiran saya dari sesuatu yang abstrak ke kongkrit.
According to Rosalind E. Krauss, the notion of the new in the art field is epitomized by the Avan... more According to Rosalind E. Krauss, the notion of the new in the art field is epitomized by the Avant-Garde Movement. In The Originality of the Avant-Garde, 1 Krauss argues that the movement disrupts traditional art by imposing the existing structure with a new structure of reality. An originality. The disruption is not only a revolt against tradition and an absolute dissolution from the past but a literal origin, a beginning from ground zero. 2 'Only he is alive who rejects his convictions of yesterday.' pronounced Kazimir Malevich, the Russian avant-garde artist and theorist. To conduct their mission, the avant-garde artist conceives this notion of originality from a ground of repetition and recurrence. The prominent instrument that emerges from such operation is the grid. The grid operates in silence, and yet, is hostile to any narrative. Its presence destroys hierarchy and centre. 3 The Grid is one of the most effective and common instruments for drawing a new structure, to conceive an 'an originality.' James C. Scott in Seeing Like a State 4 argues that such utilitarian logic works hand in hand with labour productivity in colonization. 5 Nevertheless, instead of artists, the proponent of this agency is a society of which Scott called 'the high-modernist society'. This society embraces technology and science as their world view and way of life. They might not have good literacy and familiarity with science and/or technology. Yet, they have a strong belief that both are the only way to be progressive and modern. Therefore, according to Scott, instead of practical intervention, the exercised imposition is an ideological one. 6 The new lines of colonization are drawn by imposing another world view or system of knowledge-an epistemic imposition. Such imposition, in the context of colonization, operates similarly with the case presented by Kraus. 'Modern' is a politicized term embedded with the notion of new, especially within colonization, 7 it is also the Avant-garde's propaganda of Originality. The colonist deemed to displace the existing structure of subjugated land as a disruption signifier between the old way and the new way. This redrawing operation in the context of colonization comes in various forms. Rudolf Mrazek called building projects as the Tower, recalling 1 Rosalind E. Krauss, The Originality of the Avant=Garde and Other Modernist Myths. ,
Tulisan ini mungkin tidak bisa disebut sebagai tulisan kritik tapi lebih sebagai catatan pemikira... more Tulisan ini mungkin tidak bisa disebut sebagai tulisan kritik tapi lebih sebagai catatan pemikiran saya tentang Pameran Arsitektur: Sebuah Sekuel. Oleh karena itu memang bukan tujuan saya untuk mengulas satu demi satu karya yang dipamerkan. Bagi saya modus representasi dari pameran ini adalah bagian yang paling menarik dan harus diapresiasi terlepas dari banyak aspek yang bisa dicermati. Catatan ini pun akan banyak menanggapi masalah ini. Secara sederhana tulisan ini tersusun dalam tiga bagian: 1. Representasi, 2. Kuratorial, dan 3. Pameran. Bukan sebuah pembagian yang sistematis tetapi hanya meruntutkan pemikiran saya dari sesuatu yang abstrak ke kongkrit.
Attached is a preview of the catalogue of Pavilion Indonesia 2018: The Poetics of Emptiness. This... more Attached is a preview of the catalogue of Pavilion Indonesia 2018: The Poetics of Emptiness. This excerpt is from the limited edition version that is published only for the Venice Biennale 2018.
Uploads
Papers