DURING THE EXHIBITION THE GALLERY WILL BE ONLINE
Farah Al-Kaff (laviaminora)
Curator: Adelina Luft
Writer: Arham Rahman
Presented by: KERSAN Art Foundation in partnership with PartNER Yogyakarta
Supported by: Asian Leadership Center
Opening: 29 August | 16:00 WIB
Artist Talk: 31 August | 15:00 – 17:00 WIB
Exhibition Venue: SaRanG Building 1
Address: Jl. Kalipakis, RT 05 / ll Tirtonirmolo, Kasihan, Bantul
Exhibition Runs: 30 August – 28 September
Open: Tuesday - Saturday | 1:30 – 17:00 WIB
“During the Exhibition The Gallery Will Be Online” is the first project-exhibition from a series of three as part of the yearly program initiated by Kersan Art Foundation with focus on digital art discourse. Through this project we aim to present, analyze and discuss critically on the subject of how digital art is understood as well practiced by various young artists in Indonesia. For the first session, we present three artistic practices that use social media as a medium, displayed in the exhibition venue as a documentation of their inter-relations with the followers and the larger public as users of these platforms.
From the various taxonomies developed in contemporary visual art internationally, starting with new media art, internet or electronic art, to post-internet culture, and even social media art, we begin by looking at digital art as the term capable to more generally describe art produced using digital technology (or the mediation of it), in essence producing art which is ephemeral and non-atom based. With the fast development in technological tools and features, conventional categorizations particularly medium-based have been replaced with new terminologies which continue to add to an essential confusion – whether new art forms use digital technologies “as a tool” or “as a medium” (Christiane Paul, 2003).
Nowadays, in the larger social contexts, the issues of social media are rather urgent to be discussed as part of a common effort to stop and take stock of what is going on before moving further. Social media has become a part of our daily lives or even the “second nature” of its users, shifting to being a mediator in the relation between humans, and not between humans and machines (avatar) as seen previously. Its developments take place at a very fast pace where in a relatively short time various social media models were formed: Friendster, Youtube, Facebook, Twitter, to Instagram. These new platforms offer a new space for individual expression and creation to a point in which they can be seen as new mediums for artistic developments and less as mere tools for production/distribution.
These developments also contribute to changing perspectives towards how we look at art, especially related to the means of production, and distribution, as well continuing to address other concerns such as how to document and archive works that are temporary. These questions have been nevertheless addressed since early 1990s with the invention of the web browser and the birth of Net-Art and its presentation online, as well bringing the possibilities of shared contribution to the online.
Although these questions haven’t been addressed yet in the context of Indonesian internet or digital based work, artistic practices based on the potentialities of social media have been practiced for a while now, with diverse artistic strategies as well in tune with the “technological aesthetics”. In line with the technological features used, interactivity (share, comments, follow/unfollow) is the aesthetic dimension that most clearly pervades in digital works shaped by social media; and reading this aesthetic dimension will become our focus of attention.
By looking at these contexts, we chose to present the “artworks” as a project-exhibition where we document a selection of simulated interactions. We chose three art projects from three artists active in the social media that we argue use this platform as a medium: Agan Harahap, Farah Al-Kaff (laviaminora) and Fluxcup. Before the exhibition, the three were asked to simulate for a period of time new posts and interactions with their followers following their normal schedules. The documentations from these simulation results are displayed in the gallery venue, while the simulations, processes, or the “exhibition” itself is still ongoing on their social platforms. With this project, we hope further discussions can raise in the efforts to analyze the aesthetic dimensions and the forms of interactivity addressed by the artists invited.
Agan Harap: https://www.instagram.com/aganharahap/?hl=en
Farah Al-Kaff: https://www.instagram.com/laviaminora/?hl=en