Author: rubanahundergroundhub

Tokoh-tokoh, pengabdian, dan peradaban

At once noun and verb, figure refers to both a person and a process—an image and an act of thinking. “Tokoh-tokoh, pengabdian, dan peradaban” unfolds across four interconnected sites—each forming part of a single body of work. Together, these sites trace an ongoing conversation around Sesudah banjir itu (When the flood is over), a citizen-led venture to conserve and contest the cycle of dioramas at the Museum Sejarah Nasional beneath Monas.

These four presentations are not separate exhibitions but chapters in a shared process. Each takes a different position toward the question of how figures—historical, political, or artistic—are made, remade, or erased. Across them, making becomes a way of thinking; conservation, a way of questioning; and collaboration, a way of remembering. The works, discussions, and gestures circulate among sites, refusing the isolation of objects and authorship, sustaining instead a practice of ongoing relation.

KETOK STUDIO

In the bustling streets of Indonesia’s big cities, KETOK MAGIC is a well-known workshop for fixing dented cars—often the result of light crashes in dense traffic. In Bahasa Indonesia, ketok means “to knock” (as in a door) or “to beat” (as in a drum or tree trunk). But in Javanese, ketok can take on at least two other meanings, depending on pronunciation: “to cut” (like paper or fabric), or “to appear”, “to seem” (as in a color emerging, or a façade revealing itself). In Indonesia’s fine art history, the word carries a different kind of weight. It surfaces in the phrase jiwa ketok—literally, “the soul revealed”—a term once used to describe the spirit or essence believed to shine through in artworks of the revolutionary era.

Gion dalam Simulasi

Pameran Gion dalam Simulasi meninjau ulang praktik dan pemikiran Wagiono Sunarto (1949–2022), seniman penting yang menjadikan gambar sebagai laku estetik dan intelektual. Tidak hanya lewat karya dan arsip, pameran ini juga menampilkan interpretasi seniman-seniman kontemporer atas semangat gambar Gion—yang jujur, reflektif, sekaligus eksperimental. Lewat pendekatan simulasi, Gion dihadirkan kembali bukan sebagai figur masa lalu, melainkan pemicu inovasi gambar hari ini.

Immartyas

Immartyas (b. 1996, Bandung) describes herself as a ‘drawer.’ She cuts, scratches, and assembles materials, making tactility integral to her … More

taswir

Gambar Immar hadir, ada, nyata. Ia bukan tiruan, salinan, atau bayangan dari kenyataan. Ia tidak mewakili apa-apa. Pada bidang gambar Immar, kita akan mendapati kenyataan si gambar itu sendiri. Bagaimana ia terjadi, bagaimana ia bergerak, mana serta apa saja yang bertumpuk, berlapis, bergulat di atas bidang datar itu.