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→ PAMERAN PATUNG ALUMNI ISI
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EXHIBITIONS 2015
→ FORM AND FANTASY
→ OFFERING
→ VIOLENT BALI
→ MY NAME IS WAYANG

EXHIBITIONS 2016
→ ART AS PERSPECTIVE
→ RUANG KECIL BERBICARA

EXHIBITIONS 2017
→ VIP GALLERY

EXHIBITIONS 2020
→ GALERY ZEN1

Group Exhibition "ART AS PERSPECTIVE "

↘ DESCRIPTION ↘ CATALOGUE ↘ CURATORIAL ↘ OPENING CEREMONY

CURATORIAL

SENI SEBAGAI PRODUKSI PENGETAHUAN
Oleh Arif Bagus Prasetyo

Pada masa ketika populasi perupa kita makin didominasi oleh mereka yang pernah mengenyam pendidikan tinggi, seni rupa semakin tidak lagi dipandang sebagai bidang yang terpisah dari, apalagi berseberangan dengan, pengetahuan. Salah satu indikasinya, hampir semua perupa masa kini siap memberikan jawaban jika diminta menjelaskan konsep karyanya, meskipun kadang-kadang nalar kita sulit menghubungkan antara realitas karya dan konsep di belakang karya. Terkadang kita bahkan takjub dipukau konsep berkarya yang bukan main cerdasnya, dan kecewa mendapati realitas karya yang biasa-biasa saja, atau kedodoran penggarapannya, atau membosankan. Keberatan konsep, kata orang.

Bagaimana pun, sekarang sulit kita temukan perupa yang berani menyatakan dirinya berkarya tanpa dilandasi konsep. Mungkin tidak ada lagi perupa kontemporer yang menganut prinsip “non-prakonsepsi” mendiang Nashar (meskipun, sebagaimana dikatakan Putu Wijaya dalam Nashar sebagai Simbol, “tanpa prakonsep itu sendiri sebuah konsep”). Melukis dengan mengandalkan intuisi belaka seperti Nashar sudah kuno. Seni Konseptual memang tidak muda lagi, umurnya sudah setengah abad di Barat, tapi seni rupa kontemporer di mana-mana mewarisi jiwa seni Konseptual. Apapun ragam karyanya, sekarang semua perupa harus bekerja dengan konsep, jika tak ingin ketinggalan zaman. Dan berkarya dengan dituntun konsep berarti mempraktikkan seni sebagai produksi pengetahuan. Konsep memberikan “isi” pada karya seni, menyodorkan sesuatu tentang karya bersangkutan yang layak diketahui oleh khalayak. Dengan konsep, karya seni memproduksi pengetahuan.

“Art as Perspective”, tema pameran kita, menyiratkan kesadaran tentang seni (rupa) sebagai produksi pengetahuan. Seni dimaknai sebagai perspektif, sudut pandang, cara memahami sesuatu. Apa yang dimunculkan oleh suatu perspektif adalah pandangan dan pemahaman tertentu. Atau dengan kata lain: suatu wacana tertentu. Seni sebagai perspektif adalah seni sebagai praktik pewacanaan tertentu, tindakan membicarakan sesuatu dari posisi tertentu. Praktik pewacanaan inilah yang menghasilkan pengetahuan. Sebagaimana ilmu, seni menghasilkan pengetahuan melalui praktik pewacanaan tertentu. “Tidak ada pengetahuan tanpa praktik pewacanaan tertentu; dan praktik pewacanaan apapun dapat didefinisikan dari pengetahuan yang dibentuknya,” kata Michel Foucault dalam The Archaeology of Knowledge.

Zaman kita memang menyaksikan bangkitnya kesadaran tentang seni-sebagai-produksi-pengetahuan dalam wacana dan praktik seni rupa kontemporer. “Pasar wacana”, tempat berlangsungnya transaksi pengetahuan, merajai medan seni rupa kontemporer di seluruh dunia dalam bentuk maraknya berbagai diskusi, seminar, simposium, kuliah terbuka dsb. Praktik pewacanaan memang sudah cukup lama ikut berperan menunjang pameran seni rupa, khususnya dalam konteks museum, biennale dan, belakangan, art fair. Pada mulanya, “pasar wacana” menduduki posisi pinggiran sebagai pelengkap pameran seni rupa. Wacana pegang peran sekunder di hadapan pagelaran karya seni untuk konsumsi publik. Namun, makin hari praktik pewacanaan kian bergeser posisinya ke tengah arena seni rupa, dan berubah menjadi agenda utama. Di medan seni rupa kontemporer, kadang-kadang pagelaran wacana, atau “pengetahuan”, bukan saja lebih penting daripada pagelaran karya, tapi bahkan tidak memerlukan kehadiran karya.

Selain aneka bentuk perbincangan seni rupa, praktik kuratorial masa kini juga berperan besar melembagakan kesadaran tentang seni sebagai produksi pengetahuan. Dalam Curating and the Educational Turn, Paul O’Neill dan Mick Wilson mencatat bahwa praktik kurasi kontemporer ditandai dengan beralihnya perhatian ke arah pendidikan. Format, metode, program, model, peristilahan, proses dan prosedur edukasional telah meruyak dalam praksis kurasi maupun produksi seni rupa kontemporer. Fenomena ini bukan sekadar menunjukkan semakin banyak proyek kuratorial yang mengangkat tema pendidikan. Alih-alih, inilah tanda bahwa kurasi seni rupa semakin banyak bergerak sebagai praksis edukasional yang melebar. Dalam praktik kurasi kontemporer, pameran seni rupa dimaksudkan untuk menyenangkan dan sekaligus mengajar pemirsa. Kurator tidak saja bertanggung jawab menyajikan pameran yang bermutu, tapi juga bertugas mendidik masyarakat.

Menguatnya kesadaran tentang seni sebagai produksi pengetahuan terlihat pula dalam banyaknya praktik penciptaan seni rupa kontemporer yang berlandaskan pada riset. Tidak sedikit perupa kontemporer yang mengadakan riset, misalnya penelitian sejarah, sebelum melakukan proses penciptaan karya, terutama karya yang mengangkat tema spesifik. Tidak jarang pula perupa berkolaborasi dengan ilmuwan untuk menciptakan karya seni yang bernilai ilmiah. Kelompok The House of Natural Fiber di Yogyakarta, misalnya, terang-terangan mengamalkan pendekatan interdisipliner dalam penciptaan seni.
Pada tataran lembaga formal seni rupa di Indonesia, Galeri Nasional Indonesia (GNI) tampak serius mengadopsi paham tentang seni sebagai produksi pengetahuan. Pada September lalu, GNI menggelar rangkaian seminar estetik bertajuk “Larut: Seni, Pengalaman dan Pengetahuan” di Universitas Sanata Dharma Yogyakarta, Institut Teknologi Bandung dan Institut Seni Indonesia Denpasar. Meskipun diselenggarakan oleh lembaga seni rupa, seri seminar ini menampilkan narasumber yang sebagian besar berasal dari bidang di luar seni rupa. Pendekatan interdisipliner yang ditempuh seri seminar ini mengisyaratkan pergeseran kebijakan institusional GNI yang selangkah menjauhi kutub pameran beserta presentasi, sirkulasi dan afirmasi pengetahuan yang menyertainya, dan selangkah mendekati kutub diskusi dan wacana tentang praktik seni yang lebih luas.

Kendati seakan telah menjadi jargon seni rupa kontemporer, “seni sebagai produksi pengetahuan” masih diliputi perdebatan panas. Salah satu isu besar yang ramai diperkarakan adalah mengenai hakikat “pengetahuan” yang konon diproduksi oleh seni. Dalam On Knowledge Production: A Critical Reader in Contemporary Art, kumpulan esai yang menghimpun pemikiran kritis sejumlah perupa, sejarawan seni, filsuf, teoretikus dan kurator internasional perihal bidang seni rupa sebagai situs produksi pengetahuan, Maria Hlavajova, Jill Winder dan Binna Choi mengawali diskusi dengan mengangkat pertanyaan sederhana Sarat Maharaj: “Apakah pengetahuan itu?” Hlavajova-Winder-Choi bertanya, “Apakah yang kita ketahui? Siapa yang berkuasa menentukan apa gerangan pengetahuan itu? Apa saja penggunaan pengetahuan, dan bagaimana pengetahuan dapat dimanipulasi? Apakah yang kita pelajari dari seni (kalau ada), dan bagaimana kita belajar dari seni?”

Salah satu jawaban menarik disodorkan oleh Simon Sheikh. Menurut kritikus seni dan kurator ini, pengetahuan tidak sama dengan pemikiran. Pengetahuan diedarkan dan dirawat melalui sejumlah praktik normatif, disiplin, sedangkan pemikiran menyiratkan jejaring ketidakdisiplinan, jalur-jalur lintasan terbang bebas, pemertanyaan-pemertanyaan utopis. Meski berpotensi emansipatoris, kendati bisa membebaskan, pengetahuan dalam arti apa-apa yang kita ketahui, apa-apa yang telah kita pelajari, juga merupakan suatu pembatasan: sesuatu yang mengekang kita, yang menancapkan kita dalam tradisi, dalam parameter-parameter tertentu tentang yang mungkin. Pengetahuan dapat membatasi ranah dari apa yang mungkin dipikirkan, apa yang mungkin dibayangkan, baik secara artistik, politis, seksual dan sosial. Karena itulah, saran Sheikh, kita (seniman dan seni) harus bergerak keluar dari produksi pengetahuan dan memasuki ruang-ruang untuk pemikiran, spaces for thinking.

Pengetahuan apakah yang diproduksi oleh karya-karya dalam pameran seni rupa “Art as Perspective”? Ada baiknya kita simak renungan Raqs Media Collective dalam Curating and the Educational Turn. Menurut kelompok ini, seniman belum tentu tahu segalanya yang terkandung dalam karyanya sendiri. Seniman juga belum tentu tahu semua yang akan dialami setiap orang ketika berhadapan dengan karyanya. Bahasa privat seniman tidak akan pernah sama dengan bahasa privat yang digunakan pemirsa untuk “membaca” karya sang seniman. Seniman itu seperti orang yang menulis surat kepada kekasih yang tak pernah diketahui ada-tidaknya, dengan bahasa yang tidak dipahami, tanpa ada jaminan surat itu akan mencapai pihak yang jadi tujuan atau akan dibuka dan dibaca, itu pun kalau surat itu sampai.

Seperti hujan pertama seusai kemarau panjang, kata Raqs Media Collective, seni terbaik meminta kita untuk membuka pintu dan jendela dan mempersilakan berbagai dunia lain masuk. Ketimbang beroleh pengetahuan remang-remang dari seni, mungkin kita akan lebih bahagia jika bersua dengan seni yang membuat kita serasa basah kuyup kehujanan, tapi tak ingin lari ambil payung atau berteduh, melainkan malah menari-nari kegirangan seperti anak kecil di bawah hujan pertama.

ARTS PRODUCTION AS KNOWLEDGE
By Arif Bagus Prasetyo

At a time when the population of our artists increasingly dominated by those who have higher education, fine arts are increasingly no longer seen as separate fields of, let alone contrary to knowledge. One indication, virtually all the artists of today is ready to give an answer when asked to explain the concept of his work, although sometimes the reason we work hard linking between reality and the concept behind the work. Sometimes we even amazed dipukau working concept that not playing smart, and was disappointed to find the reality of the work that is mediocre, or oversize penggarapannya, or boring. Objection concept, the people said.

However, it is now difficult to find artists who dare to express themselves working without based concept. May no longer contemporary artists who embrace the principle of "non-preconception" late Nashar (although, as it is said Putu Wijaya in Nashar as a symbol, "without prakonsep itself a concept"). Painting by relying on mere intuition as Nashar outdated. Conceptual art was no longer young, already half a century old in the West, but of contemporary art everywhere inherited the soul of Conceptual art. Whatever the variety of his work, now all artists should work with the concept, if you do not want outdated. And working with guided practice the concept of art as a means of knowledge production. The concept of providing "content" in the artwork, thrusting something about the work that is worthy of note concerned by the audience. With concepts, artwork producing knowledge.

"Art as Perspective", the theme of our exhibition, implies an awareness of the arts (visual) as the production of knowledge. Art is defined as perspective, point of view, how to understand something. What is raised by a perspective view and a certain understanding. Or in other words: a certain discourse. Art as an art as a practice perspective is a particular discourse, the act of talking about something from a particular position. Pewacanaan practice is what produces knowledge. As science, the arts generate knowledge through the practice of a particular discourse. "There is no knowledge without a specific discourse practices; and the practice of any discourse can be defined from the knowledge that the establishment, "said Michel Foucault in The Archaeology of Knowledge.

The times we are witnessing the rise of consciousness about art-as-production-knowledge in the discourse and practice of contemporary art. "The market discourse", the venue for the transaction of knowledge, dominated the field of contemporary art around the world in the form of proliferation of various discussions, seminars, symposia, lectures open jobs. Pewacanaan practice has long played a role supporting art exhibitions, especially in the context of museums, biennials and, later, art fair. In the beginning, "the market discourse" position periphery as a complementary art exhibitions. Discourse hold a secondary role in the face of performance art for public consumption. However, increasingly the practice of discourse increasingly shifted its position into the arena of art, and turned into the main agenda. In the field of contemporary art, sometimes performances discourse, or "knowledge", is not only more important than the performances of the work, but do not even require the presence of the works.

In addition to various forms of art talks, curatorial practice today also plays a major role instituted an awareness of art as knowledge production. In Curating and the Educational Turn, Paul O'Neill and Mick Wilson noted that contemporary curatorial practice is characterized by the shift of attention toward education. Format, methods, programs, models, terminology, processes and procedures educational praxis has been spreading in the curation and production of contemporary art. This phenomenon is not just show the more curatorial project with the theme of education. Instead, this is a sign that the curation of art more and more engaged as widening educational praxis. In the practice of curating contemporary art exhibition meant to be fun and also teach viewers. Curator is not only responsible for presenting quality exhibitions, but also the task of educating the public.

Increased awareness of art as knowledge production is also evident in the creation of many contemporary art practice, which is based on research. Not a few contemporary artists who conduct research, such as historical research, before the process of creating the work, especially the work of the specific theme. Not infrequently, the artist collaborated with scientists to create works of art scientific value. Group The House of Natural Fiber in Yogyakarta, for example, openly practicing interdisciplinary approach in the creation of art.

At the level of formal institutions of art in Indonesia, the National Gallery of Indonesia (GNI) looks seriously adopted the notion of art as knowledge production. In September, GNI held an aesthetic seminar titled "Late: Art, Experience and Knowledge" at Sanata Dharma University in Yogyakarta, Bandung Institute of Technology and the Institut Seni Indonesia Denpasar. Although organized by the institution of art, this seminar series featuring speakers who mostly come from fields outside of art. The interdisciplinary approach taken by this seminar series signaled a policy shift away from institutional GNI step along the polar exhibit presentation, circulation and affirmation of knowledge that accompanies it, and one step closer to the poles of discussion and discourse about art practices more broadly.

Although as has been the jargon of contemporary art, "art as knowledge production" still filled with heated debate. One of the big issues that crowded sued is about the nature of "knowledge" that supposedly produced by art. In On Knowledge Production: A Critical Reader in Contemporary Art, a collection of essays that raise critical thinking a number of artists, art historians, philosophers, theorists and curators internationally about the field of art as a site of knowledge production, Maria Hlavajova, Jill Winder and Binna Choi initiate discussions with Sarat Maharaj raised the simple question: "Is it science?" Hlavajova-Winder-Choi asked, "What do we know? Who ruling determining what knowledge the hell is that? Any use of knowledge, and how knowledge can be manipulated? What do we learn from the art (if any), and how we learn from art? "

One interesting answer proffered by Simon Sheikh. According to the art critic and curator, knowledge is not the same as thinking. Knowledge circulated and treated through a number of normative practices, discipline, while thinking implies networking indiscipline, lines of free-flying trajectory, pemertanyaan-pemertanyaan utopian. Although potentially emancipatory, although can be liberating, knowledge in the sense of anything we know, anything we have learned, is also a limitation: something curb us, who stuck us in tradition, in certain parameters of the possible , Knowledge can limit the realm of what people might think, what might be imagined, both artistically, politically, sexually and socially. Therefore, suggestions Sheikh, we (artists and art) should move out of the production of knowledge and into spaces for thought, spaces for thinking.

Knowledge is produced by the works of the art exhibition "Art as Perspective"? There we see reflections Raqs Media Collective in Curating and the Educational Turn. According to the group, the artists do not necessarily know everything that is contained in his own work. The artist is also not necessarily know all that will be experienced by every person when dealing with his work. Private language artists will never be the same as that used private language viewers to "read" by the artist. The artist is like the person who wrote a letter to a lover who was never known to exist whether or not, in a language that is not understood, without any guarantee that the letter will reach those goals or will be opened and read, that is, if it reached.

As with the first rain after a long drought, said Raqs Media Collective, best art asks us to open the doors and windows and let the various other world entry. Rather than obtain dim knowledge of art, perhaps we would be happier if faced with art that makes us feel drenched in the rain, but do not want to run grab an umbrella or shade, but instead danced for joy like a child under the first rain.

MY STUDIO

KAYU GALLERY BALI
BALI ARTSPACE
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