Undangan dari Surabaya International Performance Art Event

undangan

bersama ini, kami, atas nama panitia "surabaya international performance art event" (SIP-AE) 2008, mengundang anda untuk hadir dalam acara road show: diskusi, pemutaran video, workshop dan performance art, yang akan kami selenggarakan pada tangal 28-29 desember 2007, dengan tema:

"TUBUH SEBAGAI GERAKAN SOSIAL"

oleh: Iwan Widjono

(Performance Klub Jogja)

adapun rangkaian acara tersebut, sebagai berikut:

jum’at, 28 desember 2007.

- performance art ilham j. baday "the hero not yet", di sepanjang jalan kota surabaya, pukul 14.00 wib.

- diskusi, pukul 15.00-16.00 wib.

- pemutaran video, pukul 16.00-17.00wib

- workshop, pukul 18.00-selesai.

sabtu, 29 desember 2007

- pematangan materi workshop: persiapan/pencarian bahan/materi untuk performance, pukul 12.00-13.00 wib.

- penampilan performance art hasil workshop, pukul 14.30-17.00 wib

- pembahasan "performance" hasil workshop, pukul 18.00-selesai

acara dilaksanakan:

di eks-museum mpu tantular

jl taman mayangkara 6 surabaya.

(dari arah barat jl diponegoro – arah timur jl raya darmo)

konfirmasi: ilham j baday 081 559 861 860, sjalabi asja 0888 3534 992

Performance Art Short Course-ASBESTOS ART SPACE

1. Latar Belakang

Perkembangan performance art di negeri ini cukup menjanjikan terbukti dengan banyaknya komunitas kesenian jenis ini serta penyelenggaraan festival berskala nasional maupun internasional merebak secara antusias di beberapa kota besar di Indonesia. Performance art senantiasa tetap menarik untuk dikaji secara estetik terutama karena media tubuh sebagai basis ekspresinya merupakan sumber inspirasi yang tak ada habisnya.

Namun maraknya penyelenggaraan festival/event performance art sebagai sebuah praktek dirasakan belum berimbang dengan kegiatan yang bersifat teoritik. Belum lagi institusi pendidikan seni formal belum sepenuhnya terbuka terhadap gejolak perkembangan seni-seni baru semacam ini.

Berdasarkan hal tersebut Asbestos Art Space berinisiatif mengundang para seniman muda dari berbagai kota di Indonesia untuk mengikuti Performance Art Short Course. Peserta short course umumnya dikurasi dari seniman muda baik yang berlatarbelakang pendidikan tinggi seni maupun otodidak. Peserta akan belajar bersama serta berbagi secara intensif pengetahuan teori seni, filsafat, sejarah, pengetahuan multimedia maupun praktek performance art. Short course ini menawarkan pendekatan pendidikan dialogis, yaitu metoda dengan mengedepankan dialog yang setara (emasipatoris) diantara seniman peserta dengan pemateri.

Metoda pendidikan dialogis juga merupakan sebuah paduan yang tepat dengan genre performance art itu sendiri, mengingat perkembangan genre seni ini selain telah menjadi sebuah pergerakan perlawanan terhadap estetika mapan, juga menjadi medium untuk mengaktualisasikan pemikiran intelektual, sebagai solusi terhadap permasalahan-permasalahan sosial budaya.

Short course yang berlangsung intensif selama tiga hari ini akan diakhiri dengan praktek performance dari seluruh peserta.

2. Tujuan

a. Memotivasi para seniman muda untuk lebih mendalami performance art baik praktek maupun teoritik.

b. Mengeksplorasi perkembangan performance art di berbagai kota

di Indonesia.

c. Menciptakan kerjasama serta jaringan sebagai aset untuk masa yang akan datang.

d. Pendokumentasian serta pengarsipan.

3. Waktu & Tempat

Kegiatan short course akan berlangsung di Asbestos Art Space, 5-7 Desember 2007

4. Kepesertaan

Seniman	Pemateri
a. Peri Sandi Huizche (Sukabumi, Bandung) b. Semi Ikra Anggara (Tasikmalaya, Bandung) c. Sylvester Petara Hurit (Flores, Bandung) d. Armand Jamparing (Bandung) e. Rahmat Jabaril (Bandung) f. Harry (Bandung) g. Agung Jack (Bandung)* h. Ferrial Afif (Yogyakarta) i. Ilham J Baday (Surabaya)* *dalam konfirmasi	a. Prof. Dr. I Bambang Sugiharto b. Benny Johannes, M. Hum c. Agung Hujatnikajenong, M. Sn d. Aminudin TH Siregar, M.Sn e. Tun Riano Arnold, S.Sn f. W Christiawan, M. Hum

5. Jadwal

Rabu, 5 Desember 2007
09.00	Pembukaan, Team Asbestos Art Space
09.30	Presentasi dan diskusi, oleh peserta (sesi I)
11.30	Visual Performance, Agung Hujatnikajenong, M. Sn
13.00	Istirahat dan makan siang
13.45	Filsafat, Prof. Dr. I Bambang Sugiharto
15.00	Break
15.30	Presentasi dan diskusi, oleh peserta (sesi II)
17.00	Simpulan hari pertama
Kamis, 6 Desember 2007
09.30	K ritik, Aminuddin TH Siregar, M.Sn
11.00	Proses Kreatif, Benny Johannes, M. Hum
12.30	Istirahat dan makan siang
13.15	Pengantar Performance Art, W Christiawan, M. Hum
14.30	Multimedia, Tun Riano Arnold, S.Sn
15.30	Break
16.00	Lanjutan Multimedia
17.30	Simpulan hari kedua
Jum’at, 7 Desember 2007
14.00	Praktek Performance, oleh peserta
22.00	Penutupan

6. Makalah (untuk Pemateri)

Pemateri diharapkan untuk menyajikan makalah. Makalah yang terkumpul direncanakan akan dipublikasikan dalam katalog post-event. Untuk kepentingan publikasi, abstrak selambat-lambatnya telah diterima panitia tanggal 14 November 2007.

7. Aktivitas (untuk Peserta)

· Presentasi

Setiap peserta diberi waktu 10 menit untuk memperkenalkan diri dan mepresentasikan karya-karya sebelumnya. Sebagai bahan untuk lebih saling mengenal dan berbagi secara kekaryaan, seniman dapat membawa portfolio seperti dokumentasi video (format VCD/ DVD), photo, booklet, website dsb. Panitia menyediakan tempat untuk pendisplayan.

· Short course

Peserta diharuskan mengikuti seluruh kegiatan short course seperti yang telah disusun dalam jadwal diatas. Short course diakhiri dengan praktek performance.

· Fasilitas

Selama kegiatan berlangsung peserta akan mendapatkan biaya pengganti transportasi, material artistik, konsumsi, publikasi dan dokumentasi.

· Publikasi

Untuk keperluan publikasi dan database, peserta mengirimkan :

a. Formulir (diprint dan diisi dengan menggunakan tulisan tangan)

b. Surat Pernyataan Keikutsertaan

c. Curriculum Vitae (maks. 1 halaman A4)

d. Foto karya (jpeg format, 300 dpi)

e. Dokumentasi video (format VCD/DVD)

Sebelum 14 November 2007, via e-mail: asbestos_art_space@hotmail.com, christiawanid@yahoo.com

Atau langsung ke alamat

Asbestos Art Space

Jl. RAA Martanegara No. 86

Turangga, Bandung 40264

Tel. 62-22-7320838

HP. 081320510785

8. Panitia Pelaksana

Asbestos Art Space | OPEN SPACE 2007

Direktur Artistik W Christiawan

Manager Program Mimi Fadmi

Koordinator Short Course Tun Riano Arnold

Web Developer Awan Gunawan

Stage Crew Zamzam Cs

Logistik Asep Foundation

Konsumsi Enin Supriono

Engineering Yudi, Andri, Kick Andy

Undangan dari ASBESTOS ART SPACE

Nomor : 12/AAS/OS2007

Perihal : Permohonan menjadi Seniman Peserta

Lampiran : 1 (satu) berkas proposal

4 November 2007

Kepada Yth.

Ilham J Baday

di tempat

Dengan hormat,

Dalam rangka memperingati lima tahun dirgahayu Asbestos Art Space (2002-2007) kami bermaksud mengadakan program OPEN SPACE 2007, yang salah satu acaranya berupa Performance Art Short Course, 5-7 Desember 2007. Performance Art Short Course merupakan program pendidikan bagi seniman muda penggiat performance art di Indonesia, juga sekaligus menjadi sebuah pertemuan dialogis para seniman muda tersebut dengan teoritikus dari beragam disiplin seni.

Berdasarkan hal tersebut diatas, kami mengundang anda untuk berpartisipasi sebagai Seniman Peserta.

Dukungan dan partisipasi anda akan sangat bermanfaat bagi perkembangan performance art di Indonesia, khususnya menjadikan performance art sebagai sebuah kajian konseptual.

Demikian, atas perhatian dan kerjasamanya kami ucapkan terimakasih.

Hormat kami,

Tun Riano Arnold

Koordinator Short Course

Jl. RAA Martanegara No. 86 Bandung 40264

Tel. 62-22-7320838, 081

asbestos_art_space@hotmail.com

www.asbestosartspace.wordpress.com

Birds Migration: English Version

Program Name :
"Birds Migration: Indonesia International Performance Art Event[ IIPAE ] 2006"
An International Performance Art Forum Festival

Activities :
Seminar, Artist Talk, Workshop, Exhibition and Performances
Date : 7th - 9th December 2006
Agenda :Thursday, 7th/12 – Seminar 1, Workshop, Performance & Exhibition Friday, 8th/12 – Artist Talk, Performance & Exhibition Saturday, 9th/12 – Seminar 2, Performance & ExhibitionTheme : History & Today (Sejarah & Kini )Participant* : Performers/ art critiques/ researcher/ observers/ organizers (local or international)Ade/Asep Deni [Indonesia] Agnes Yit [Singapore] Angie Seah [Singapore] Angga Wedhaswara [Indonesia] Arai Sin-Ichi [Japan] Ari Suryadi Nata [Indonesia] Arief Dharmawan [Indonesia] B+PAC/ Bandung Performance Art Community [Indonesia] Cheng Guangfeng [China] Deden Sambas [Indonesia] Dian Mulyanto & his gank [Indonesia] Emily White [USA] Feriawan [Indonesia] Heru Hikayat [Indonesia] Hong O-bong [Korea] Ilham J. Baday [Indonesia] Inari Virmakoski [Finland] Iswanto GH [Indonesia] Jacques van Poppel [Netherlands] Jane Jin Kaisen [Denmark] Jennifer Nelson [Greece] Jeremy Hiah [Singapore] Juliana Yasin [Singapore] Khairuddin Hori [Singapore] Krisna Murti [Indonesia] Lee Wen [Singapore] Lina Adam [Singapore] Melati Suryodarmo [Indonesia/ Germany] Mukmin Soge Ahmad [Indonesia] Nani Kahar [ Malaysia] Nezaket Ekici [Germany/ Turkey] Performance Art Jakarta Collectivo-Jakarta 32º [Indonesia] Peter Grzybowski [Poland] Prilla Tania [Indonesia] Rahmat Haron [Malaysia] Ray Langenbach [USA/ Malaysia] Razif [Malaysia] Rebecca Conro [Australia] Rizman Putra [Singapore] Roi Vaara [Finland] Saiful Razman [Malaysia] Santo Klingon [Indonesia] Slamet Gaprax & Sallabi [Indonesia] Sophia Natasha Wei [Singapore] S S Listyowati [Indonesia] Teguh Ostenrik [Indonesia] Tiarma D Sirait [Indonesia] Tang Da Wu [Singapore] Yoyoyogasmana [Indonesia/ USA] Yustoni Volunteero [Indonesia] Zane Trow [Australia] etc.*iipae2006participants.blogspot.com
Venue : Indonesian National Gallery/ Galeri Nasional Indonesia Jl. Medan Merdeka Timur 14 Jakarta 10110 - INDONESIA H. www.galeri-nasional.or.idE. galnas@indosat.or.id

---Program Description :Performance Art in Indonesia is considered a new genre. Despite the pro and contra’s in society, even in art community, the genre is growing and developing, even though in sporadic ways. To some of the people or groups, they already took serious process in every stage, both in researches as well as event organizing and discourse development. Some individuals have already honored in some international forums.Further, taking the account of some observations* done previously, it is found some basic discourse gaps in Performance Art. It is well-known, that even in art community and performance art community we would find facts that the study discourse of performance art history have not been acknowledge. This gap has lead into an instant or 'just do it' mode compare to 'think first' before proceeding with your ideas. Later it resulted on stagnation within the process. The concept presented has thin layer of argumentation, because people tends to rely on impulsion compare to rationalization descriptive chain, and or even deny the critiques after all. This influence the richness of performance shapes. Some of the performers in the community even declared they resign due to lack of fresh ideas.Like or not, understandable or not, the genre is a reality and need to be acknowledge in their own space as one of the science, no bargain.Looking at the metaphor of birds migrating [Birds Migration]. These can not be obstructed. The metaphor pictures thousands of birds migrating from one continent to the other, reproduction, assimilating, create new species based on their continent specification or even preferred to keep their origin, daring the epidemic faced today, bringing hundreds of dead toll from the avian flu. It’s unstoppable.Even so, following the migrating birds which runs their ecosystem as the nature law, parallel with the wind, soaring high up into the wide sky, wings glaring and open gracefully, sailing a new frontier, seedlings other life, seeds, plants, rice, yeats, flowers, pioneering the blossoms of flowers and the ripe of fruits, dazzling trees, endemic species surviving to find their food, in a harmony, in a restless livelihood or stability, always moving from one phase of life towards another, designing new cells and oasis.Birds Migration : Indonesia International Performance Art Event [ IIPAE ] 2006 aimed to self-analog with the above description. The event held variety of spirits within numbers of event with special theme 'Bird Migration" located within several venues. The main spirit is to gather networking between the activists in various events and programs, based on common awareness of the importance in history study of the performance art spreading as a genre in involving actors and many messages in raising awareness towards the political, social, individual, cultural and more. These need further understanding and new strategy in dealing with “current” form, later creating the “present” creations.The event hopefully could give aspirations for many people related, at least in the knowledge aspect. Together with the Indonesian National Gallery (Galeri Nasional Indonesia ) as the national leading arts institution, it is hope that the event could become one of the main support in art and science, not for Indonesia, but also for the world. [SSL*]
* http://observeperformanceart.blogspot.com---Committee*Producers : Galeri Nasional Indonesia [GNI]In-Charge : Head of GNI - JakartaProduction Director : Tubagus 'Andre' SukmanaProduction Manager : S S Listyowati [Atieq]Seminar/ Workshop/ Artist Talk Division : Heru HikayatPerformance Division : Yoyo YogasmanaExhibition Division : Reza Afisina [Asung]Curator : Heru Hikayat, Yoyo Yogasmana, S S Listyowati
*iipae2006committee.blogspot.com
Secretariate :Galeri Nasional Indonesia Jl. Medan Merdeka Timur 14 Jakarta 10110 - INDONESIA T. [021] 34833954/ 34833955/ 3813021 F. [021] 3813021 E. iipae2006@yahoo.com H. iipae2006.blogspot.com contact person : Atieq [+62/0 85217292179]---SeminarSeminar 1Thurday, 7th December 2006
Theme : "Birds Migration: A Study in History of Performance Art and Its Management"
Moderator : Heru Hikayat
Speaker : Ari Suryadi Nata [Indonesia], SS Listyowati [Indonesia] and Nani Kahar [Malaysia]
Background :Such as bird migration from one continent to the others, performance art although was born in western part of the world, the existence have been known, penetrating the boundaries of countries, nation, race and beliefs even in the east or Asia. The community needs to respond in the situation to give spirit, fresh outlet and newborn, in collaboration, new design, new performs, not a new endemic but not unnecessary death.The birth of such event polish their own history that later create the genre in art community with specific unique character and make them special at the same time controversial. In each country they have their own culture, which involved many situation and causality condition, political, social, economy, cultural and other in the century. This makes the genre somewhat interesting to be analyzed apart from other form of arts in the century or every stages of history.Performance art involved many aspect of art management. The aspect include (1) institution and event management, related to capacity to deal with organization and relation to the government (2) discourse management, related to vast knowledge and discourse development (3) self-management, related to mind-focus training, consciousness sharpening, mental and physically preparation in determining, preparing and conduct the performance as well as ability to cope with risk afterwards.As the birds migrating, could the performance art together with performers, community or individuals keep up the wings soaring as wide as it takes in conquering the unlimited sky with no boundaries? [SS Listyowati]

Seminar 2Saturday, 9th December 2006Theme : "Performativity"
Speaker : Heru Hikayat [Indonesia], Zane Trow [Australia] and Ray Langenbach [USA]
Background :Performance art is an art genre which put themselves in a slice. It has various art discipline which already exist, but at the same time avoid many stagnant convention or category. Therefor, it put itself within the avant garde art frontier.There are other terms in rejuvenating art: contemporer. In art world, the contemporer terms not just reffered to the definition literally, which is “the pressence”. Contemporer reffered more to certain principals similar to critiques, spreading or even to demolish the other existing principals prior to the term. Performance Art also go along with this definition.Talking about performance art is to give enlightment or renewable spirit in art sense. One spirit that could lead the audiences felt challenge in adventures. An appreciation adventure. Like all of the artists, always put themselves in adventures in any creation they made.Performance art have a credo "art presented directly by the artists themselves". Performance art more of an event than the materials. With this, the direct presentation is the basic character. The real art-work is the only event presented once in the venue, in that exact moment only. A performance work could be presented several times. But each of the presentation has not been abide to the specific time and space. On the second performance, third, etc, was not the same work anymore, due to the different time and space. The context was really vital in forming performance works. On the contrary, how could an event be publicized widely without documentation? The modern art infrastructure was build on the art documentation refferences. The knowledge on performance art could be found within the books and review on the documents. Shortly, the history keeps the existence.This is a reproduction technology era. All happening was documented, copied and widely-distributed. From the monumental event, presidential inaguration, parliament congress, trial, graduation, marriage, birth, death and others; as well as all elementary aspects such as, hair extension, new clothes, cable, curtain, green-coloured window lists and etc. Related to art, all of the aspect are considered important and must be well recorded.Performance art, is an event, so one of the way to get them easilly access in the future is through documentation. The good performance work is a work that could stunned the audiences. The audiences should be successfully persuaded to capture each moments. On the other hand, the public should also demand a unique event that could captive them in their seats to watch all details performances. [Heru Hikayat]


Artist TalkThursday, 7th December 2006 Slide/ Video Presentationby Lee Wen [Singapore]WorkshopFriday, 8th December 2006by Tang Da Wu [Singapore]
Theme : “Tradition and Modernity in Performance Art”Exhibition [Screening]Thursday - Saturday, 7th-9th December 2006Photos and Videos of Performance ArtTheme : "Performativity : Migration Space for The Performers"
Participants: Teguh Ostenrik, Krisna Murti, Khairuddin Hori, Deden Sambas, Melati Suryodarmo, Iswanto GH, Performance Art Jakarta Collectivo – Jakarta 32°C, B+PAC [Bandung Performance Art Community], Rebecca Conro, Yoyo Yo, Tiarma D Sirait etc.

Performance@ 15-30 minutes or tentative parallel in different roomsVenue: National Gallery/ Galeri Nasional Indonesia
Thursday, 7th December 20069.30am – 9.45am8pm – onwardsFriday, 8th December 20062pm – 5pm8pm – onwardsSaturday, 9th December 20062pm – 5pm8pm – onwardsParticipants:
Angga Wedhaswara [Indonesia], ‘Ade’ Asep Deni [Indonesia], Mukmin Soge Ahmad [Indonesia], Ilham J. Baday [Indonesia], Prilla Tania [Indonesia], S S Listyowati [Indonesia], Yoyoyogasmana [Indonesia], Yustoni Volunteero [Indonesia], Saiful Razman [Malaysia], Razif [Malaysia], Rahmat Haron [Malaysia], Juliana Yasin [Singapore], Agnes Yit [Singapore], Rizman Putra [Singapore], Lina Adam [Singapore], Jeremy Hiah [Singapore], Hong O-bong [Korea], Arai Sin-Ichi [Japan], Ray Langenbach [USA], Jacques van Poppel [Netherlands], Nezaket Ekici [Germany], Inari Virmakoski [Finland], Roi Vaara [Finland], Zane Trow [Australia], Jennifer Nelson [Greece], Angie Seah [Singapore], Sophia Natasha Wei [Singapore], Cheng Guang Feng [China], Jane Jin Kaisen [Denmark], Emily White [USA], Peter Grzybowski [Polish], Arief Dharmawan [Indonesia], Santo Klingon [Indonesia], Zane Trow [Australia]

Translated by Carolina Monteiro
----

An Outline into a Migration of the birds Preface[Heru Hikayat]

An Outline into a Migration of the BirdsPreface (Into the Discourse)
by Heru Hikayat

Performance art, as we all know, is being at the critical edge. It is just not like a credo, ‘lose every art’s border with life’, but it is also can be posted to emphasize all well-done art convention. From the sociological view point, it is easy to be shown how art and all culture’s product are not really self-government, but it is also related to economic factor, social and at the end, power. That is why art that is like performance art is usually related to dimension of politic. Not politics in macro definition, but politics in its own culture.In West, it is generally known that the showing of performance art was related to common frustration about projects of modernization and promises of brightness. If we agree that big modern project is going through universal sameness, then non-West territory will also share the sameness to face the effect of modernization. Contemporary art in third world countries then prove themselves to share spirits with critical moves to resist the bad effect of modernization. In other word, this kind of art is not claimed that it is neutral, just like modern spirits, but it is cleared its partiality.In its relation with resistant, there is one important thing that have been taken from the heart of modern art’s principles: individuality. Through the art practices, every people is taken to realize his potential, to open freedom of action of an active individual to give contribution to culture’s dynamics. In the spirit of contemporary art, this participatory method must always be celebrated. In its special way, performance art, through ‘its form’ that is shaped events attracts participatory method extrovertly.The SettingNow there are a few cleared changes that we must count. First, performance art has been accepted as a legal medium in arts. As a genre, we saw in a lot of international art activities in Asian-Pacific at 1980 and 1990, performance art became a favorite menu besides installation. So that, for a nation like Indonesia, performance art has its own guarantee: in one side it is effective to reflect reality that is urgent to perform, in the other side it increases power to compete in international level. Things like local values, find its articulation itself in here.What are the important things of this fact?We take comparison with conceptual art, in the beginning of its appearance it scrapes the conception that is taken for granted in art, like museum and market mechanism, then history proves that it is also absorbed by that mechanism. We can conclude this because conceptual art has efficient moves. It stabs quickly to its critical target. This efficiency also causes, when it has been absorbed by museum and market, it has to find new articulation as soon as possible, or it completely loses its critiques and it just becomes a trend. In an esthetic definition, for art like conceptual art, being a trend has overthrown its beginning foundation.Does performance art experience the same things?When performance art is presented in a direct show, there is actuality values that was aimed that. As an illustration, facing questions about the inclination to hurt himself is wide enough to be practiced in performance art, I am glad to answer this actual quality. Pain is unique. Every time we watch pain, there is a unique sensation that is just like first experience. This sensation is so strong, as if we do not have experiences about pain. And this unique sensation in direct show can not be represented by any reproduction. In grow-up performance art’s practice –its activities increase, its networks form well- do this power of sensation still exist? It is generally known that in a trend’s stream there is a lot of imitations and repetitions. Imitation and repetition in performance art stab the heart of its actual quality immediately. Particularly, if in this situation, performance art is in re-show condition. Meanwhile back to the pain, besides the risks of imitation, repetition, re-show, does not industry’s information in this time also sell pain (remembering tragedy of humanity in a strange way constantly happens by human himself)? Then how can performance art remain special?Next, one point is offered here. Besides the abundance in trailing participatory method, performance art experiences an effect that I called “invisibility”. We can remember a legendary work of Tang Dang Wu; Don’t Give Money to the Art. In this work, Tang Dang Wu involves in all visitors of the opening exhibition, exactly without they realize it. At this time, this idea is executed by the invisible work. If we agree to place performance art and conceptual art likewise accuse art dematerialization –then performance art performs its abundance here. When it dissolves, as if a natural and real event, it declares itself.Dealing with ideas that explore potency of performance art intensively, as an event like this, consequence problem is over flown to the organizers of performance art’s activities. General formula in the organization of performance art festival is same as carnival exhibition, where stage is available and schedule of show is arranged so that viewers are conditioned to watch appearance by appearance. Idea resembles complete event that is like Tang Dang Wu’s work passes standard package of festival’s organization. These ideas have important meaning because it asks again about the acceptance of performance art in art that have been enjoyed before.But another abundance from Tang Dang Wu’s work, he performed two faces. First, when he appeared directly in invisibility. Second, at the moment after execution he appeared via camera.Talking about camera, since performance art exist in its solemn peak in 1970’s, camera has been considered as effective documentation equipment. Remembering the excessive spreading of camera, another point that need to be proposed here we should honor the ideas that no longer placed a camera as merely documentation equipment. Like we saw influences of media electronics bombard us constantly with news about realities. Realities that we are understand, until certain borders are realities that have been packed via camera. It can be convinced that our way to look at reality has been influenced too. Besides that, direct present can also be relative due to camera’s abilities.Those ChallengesIndonesia International Performance Art Event 2006, try to map newest problem’s points in the performance art development and offer it to performance artist, so that we can build significant of performance art in a together activity.First, it is connected with politics in macro definition. Can we consider that participation has become a consciousness that has been developed? Some of us are still unlucky to life under oppressive regime. Art that is like performance art promises spreading of consciousness. Art may not be important to be recognized as art. In this definition, willingness of an artist to dissolve him in community work, develops participatory method and finally, produces new expression, is worth for an honor from us: besides its talent to develop consciousness, this new expression is honored as its contribution to art.In another case, fall of oppressive regime prepares chances of freedom of expression. In spite of Indonesian case when there was another intimidation, otherwise like what has been represented by mass media, freedom in politics is much better. Performance art as “the opened art” should be able to find ways to place itself in the middle of some social practices, include in that art practices itself. The ideas that formulate relationship between art and life should be honored. It can be, to these ideas its execution would never be received in formats of an art’s activity, but merely its reproduction. So that place of art is conditioned to stay open and fertile.Second, remembering performance art itself as an idiom. Performance art is placed as “art that considers the policy of appearance itself”. It has been mentioned before, in a special performance art’s activity there is always be a stage that is one spot where a work is presented into that place and time. When the activity take place, place will be inhabited by viewers. They are public at that time. Performance artist faces public directly. Performance artist always makes strategies to attract public’s attention to him, making his presence become significant. That means performance artist realize presence of public. Public is succeed to be persuaded to watch every detail. On the contrary, public will require uniquely events to make them watching those events detail by detail. In this situation, we must honor success in constructing unique and deep-impressed events –in the idea that echoed impression in the future, in another place. Place’s border –that time is trailed.Third point, it simply begins with question, will that unique event end just in memories of its viewers? How about people who did not attend that time?This is an era of technology of reproduction. Every thing is documented, doubled and spread. Begins with monumental things, president’s inauguration, parlement’s assembly, law-court, wisuda, wedding, birth, death etc, until elementary things: long hair, new clothes, cable, curtain, green window-leaf etc. talking about art, every thing can be considered important and that is why it must be recorded well.Performance art, due to its “event” form, then the only way so that it can be accessed in the future via documentation. But, camera is not only understood as documentation instrument, but as its locus’s problem. If we talk about presence, can camera be considered as public in the future? Performance artist presents himself via camera. Or another possibilities that also explore ability’s border’s of camera, in relationship with body, person, identity, event, place and time.
Bandung, June 6th, 2006

Heru Hikayat
Translated by Alamanda Herdiyani
----

Pengantar Menuju Migrasi Para Burung [Heru Hikayat]

Pengantar Menuju Migrasi Para BurungPrawacana (Into The Discourse)
oleh Heru Hikayat

Performance art, kita tahu, berada pada tepian yang kritis. Bukan saja sesuatu seperti dinyatakan kredo “menihilkan batas seni dengan kehidupan”, melainkan juga demi hal itu ia bisa diposisikan menegasi semua konvensi seni yang sudah dianggap mapan. Dari sudut pandang sosiologis mudah ditunjukkan bagaimana seni dan segala produk kebudayaan tidak sungguh-sungguh mandiri melainkan terkait dengan faktor ekonomi, sosial, lalu di ujung-ujungnya dengan kekuasaan. Dengan begitu seni semacam performance art sangat gandrung berurusan dengan dimensi politis. Bukan politik dalam pengertian makro, melainkan politik dalam kebudayaan itu sendiri.
Di Barat sudah umum diketahui tentang pemunculan performance art yang terkait dengan rasa frustasi umum terhadap proyek modernisasi dengan janji pencerahannya. Jika kita sepakat bahwa proyek besar modern memang menuju pada keseragaman universal, maka wilayah non-Barat pun berbagi kesamaan dalam hal menghadapi dampak modernisasi. Seni kontemporer di negara dunia ketiga kemudian membuktikan dirinya berbagi semangat dengan gerakan-gerakan kritis meresistensi dampak buruk modernisasi. Dengan kata lain, seni macam ini, alih-alih mengklaim dirinya netral––a la semangat modern––justru terang-terangan menyatakan keberpihakannya.
Dalam kaitannya dengan resistensi, ada satu hal penting yang justru diambil dari jantung prinsip seni modern, yakni: individualitas. Melalui praktek seni, setiap orang diajak lebih jauh menyadari potensi dirinya, membuka keleluasaan sebagai individu yang aktif memberi kontribusi pada dinamika kebudayaan. Dalam semangat seni kontemporer metoda partisipatory ini tentu terus dirayakan. Secara khusus performance art, melalui “bentuknya” yang berupa peristiwa menghela metoda partisipatory seterbuka-terbukanya.




Latar (The Setting)
Kini ada beberapa perubahan yang jelas harus kita perhitungkan. Pertama bahwa performance art sudah diterima sebagai medium sah dalam seni. Sebagai genre, kita lihat pada maraknya kegiatan seni internasional di kawasan Asia-Pasifik tahun 1980an dan 1990an, performance art menjadi menu favorit selain instalasi. Dengan demikian, bagi bangsa semacam Indonesia, performance art punya jaminan tersendiri: di satu sisi ia efektif merefleksikan realitas yang urgen untuk dikemukakan, di sisi lain ia mendongkrak daya saing di tingkat internasional. Hal-hal semacam nilai-nilai lokal, menemukan artikulasinya secara tersendiri disini.
Apa yang secara prinsipil begitu penting dari fakta ini? Kita ambil perbandingan dengan seni konseptual (conceptual art): diawal pemunculannya ia ngotot menggerogoti konsepsi-konsepsi yang dilumrahkan begitu saja (taken for granted) dalam seni, seperti mekanisme museum dan pasar, kemudian sejarah membuktikan bahwa ia juga diserap oleh mekanisme itu. Kesimpulan ini bisa ditarik karena seni konseptual sebagai gerakan sangat efisien. Ia dengan cepat menghujam pada sasaran kritiknya. Efisiensi ini pula yang mengakibatkan, ketika ia telah diserap oleh museum dan pasar, harus segera menemukan artikulasi baru, atau sepenuhnya kehilangan kekritisan dan menjadi tren semata. Dalam pengertian estetik sekalipun, bagi seni seperti seni konseptual, menjadi tren telah meruntuhkan pondasi awalnya.
Apakah performance art mengalami hal yang sama?
Ketika performance art dipresentasikan dalam sebuah penampilan langsung, ada nilai aktualitas yang disasar. Sebagai gambaran, dalam menghadapi pertanyaan tentang kecenderungan menyakiti diri sendiri yang cukup luas dipraktekkan dalam performance art, saya senang memberi jawaban tentang kualitas aktual ini. Rasa sakit punya kekhasan tersendiri. Setiap kita menyaksikan langsung kesakitan, ada sensasi khas, selalu seperti pengalaman pertama. Sensasi ini begitu kuat, seolah-olah kita tidak pernah punya pengalaman apapun tentang rasa sakit sebelumnya. Dan sensasi khas dalam penampilan langsung, tidak bisa diwakilkan melalui reproduksi apapun. Dalam keadaan praktek performance art yang makin berkembang––kegiatannya makin banyak, jaringan kerjanya makin terbentuk––apakah kekuatan sensasi ini masih bisa berlaku? Umum diketahui dalam sebuah arus tren terjadi banyak peniruan dan pengulangan. Peniruan dan pengulangan dalam performance art langsung menusuk jantung kualitas aktualnya. Apalagi jika ternyata dalam keadaan ini performance art sudah dalam kondisi bisa dipanggungkan-ulang. Sementara kembali pada rasa sakit, selain resiko tergerus peniruan, pengulangan, pemanggungan-ulang, bukankah industri informasi masa kini juga banyak “menjual” kesakitan (mengingat tragedi kemanusiaan dengan cara yang sangat aneh terus-menerus terjadi diakibatkan oleh manusia sendiri)? Lalu bagaimana performance art bisa tetap istimewa?
Beranjak ke berikutnya, satu poin ditawarkan disini. Di samping kelebihan dalam menghela metoda partisipatory, performance art mengalami efek yang saya istilahkan “ketidak-terlihatan” (“invisibility”). Bisa kita ingat karya legendaris Tang Da Wu, Don’t Give Money to The Art. Pada karya ini Tang Da Wu melibatkan seluruh pengunjung pembukaan pameran, justru tanpa mereka menyadarinya. Pada saat ide ini dieksekusi karya “tidak terlihat”. Jika kita sepakat menempatkan performance art dan seni konseptual sama-sama menggugat dematerialisasi seni, maka di sini performance art menunjukan kelebihannya. Ketika melebur, seolah-olah berupa peristiwa yang wajar dan apa-adanya, ia tetap dengan sangat subtil tegas menyatakan dirinya.
Menyangkut ide-ide yang secara intensif mengeksplorasi potensi performance art sebagai peristiwa seperti ini, masalah lanjutan terlimpahkan pada para penyelenggara kegiatan performance art. Rumus umum dalam penyelenggaraan festival performance art mirip seperti karnaval pertunjukan, dimana “panggung” disediakan dan jadwal penampilan diatur agar penonton terkondisi menyaksikan penampilan demi penampilan. Ide berupa peristiwa menyeluruh seperti karya Tang Da Wu itu melampaui kemasan standar sebuah penyelenggaraan festival. Ide-ide seperti ini penting artinya karena mempertanyakan kembali format penyelenggaraan kegiatan performance art. Bahkan mungkin mempertanyakan kembali penerimaan performance art dalam seni yang sudah terlanjur dinikmati.
Namun kelebihan lain dari karya Tang Da Wu, ia menampilkan dua muka. Pertama, ketika ia tampil langsung dalam ketidak-terlihatan. Kedua, momen paska eksekusi ia tampil melalui kamera.
Tentang kamera, sejak performance art di puncak kemeriahanya di tahun 1970an, kamera telah dipandang sebagai alat dokumentasi yang makin efektif. Mengingat penyebaran kamera yang eksesif, poin lain yuang hendak dikemukakan di sini, kita patut penghargai ide-ide yang tidak lagi mendudukan kamera sebagai alat dokumentasi semata. Seperti kita lihat pengaruh media elektronik yang terus-menerus membombardir kita dengan berbagai berita tentang realitas. Hingga realitas yang kita pahami, sampai batas tertentu adalah realitas yang terkemas melalui kamera. Bisa diyakini cara kita memandang realitas terpengaruh juga. Di samping itu, kehadiran langsung juga menjadi nisbi diakibatkan kecanggihan kamera.
Tantangan itu
Indonesia International Performance Art Event 2006, mencoba memetakan poin-poin masalah terkini dalam perkembangan performance art dan menawarkannya pada performance artist, agar kita bisa bersama-sama meramu signifikansi performance art dalam sebuah kegiatan bersama.
Pertama, menyangkut ihwal politik dalam pengertian makro. Bisakah kita menganggap partisipasi itu telah menjadi sebentuk kesadaran yang berkembang? Sebagian diantara kita masih ada yang kurang beruntung hidup dibawah rejim opresif. Seni seperti performance art menjanjikan penyebaran kesadaran. Seni bisa saja tidak penting lagi untuk dikenali sebagai seni. Dalam pengertian ini, kerelaan seorang seniman untuk meleburkan dirinya dalam kerja komunitas, mengembangkan metoda partisipasi dan akhirnya menghasilkan ungkapan-ungkapan baru, patut kita hargai: di samping keampuhannya mengembangkan kesadaran, ungkapan-ungkapan baru ini dihargai sebagai sumbangsihnya pada seni.
Pada kasus lain, keruntuhan rejim opresif menyediakan peluang kebebasan berekspresi. Walaupun seperti halnya kasus Indonesia ketika telah hadir ancaman lain, namun seperti direpresentasikan oleh media massa, kebebasan berpendapat sudah lebih baik. Performance art sebagai “seni yang terbuka” sudah sepatutnya mampu terus menemukan cara untuk menempatkan dirinya di tengah berbagai praktek sosial, termasuk praktek seni itu sendiri. Patut dihargai ide-ide yang merumuskan terus hubungan seni dengan kehidupan. Bisa jadi, pada ide-ide ini eksekusinya tidak akan pernah bisa ditampung dalam format sebuah kegiatan seni, melainkan reproduksinya semata. Dengan begitu, ruang-ruang seni dikondisikan untuk tetap terbuka dan tidak steril.
Kedua, mengingat performance art itu sendiri sebagai idiom. Performance art ditempatkan sebagai “seni yang menyoal politisasi penampilan itu sendiri”. Telah disebutkan sebelumnya, dalam sebuah kegiatan khusus performance art selalu terdapat semacam panggung, yaitu satu spot di mana karya dipresentasikan terikat pada ruang dan waktu tersebut. Pada saat kegiatan berlangsung, ruang akan dihuni oleh pemirsa. Merekalah publik pada saat itu. Performance artist tampil menghadapi publik tersebut secara langsung. Performance artist selalu berstrategi menarik perhatian publik pada dirinya, membuat kehadirannya menjadi signifikan. Artinya, performance artist juga menyadari kehadiran publik. Masing-masing saling menyadari kehadiran. Karya performance yang baik adalah karya yang berhasil memukau publik. Publik berhasil dipersuasi untuk mengamati tiap rinci. Sebaliknya, publik akan menuntut keunikan peristiwa yang membuatnya mau memperhatikan peristiwa tersebut rinci demi rinci. Dalam situasi seperti ini, patut dihargai keberhasilan mengkonstruksi terjadinya peristiwa yang unik dan berkesan mendalam––dalam pengertian kesan yang bisa bergaung di masa datang, di ruang yang lain. Batasan ruang–waktu tersebut dihela sebisa-bisanya.
Poin ketiga secara sederhana mulai dari pertanyaan, akankah peristiwa unik tersebut berakhir hanya dalam ingatan orang-orang yang hadir saat itu? Bagaimana halnya dengan mereka yang tidak hadir pada saat itu?
Ini era teknologi reproduksi. Tampaknya segala hal didokumentasi, digandakan, dan bisa disebar-luaskan. Dari mulai hal-hal monumental: pelantikan presiden, sidang DPR, pengadilan, wisuda, pernikahan, kelahiran, kematian, dll; hingga hal-hal elementer: rambut panjang, baju baru, kabel, gorden, daun jendela warna hijau, dll. Menyangkut seni, semua hal bisa dianggap penting dan karenanya harus direkam dengan baik.
Performance art, karena berupa peristiwa, maka satu-satunya cara agar ia bisa diakses di masa datang adalah melalui dokumentasi. Namun, kamera dipahami tidak lagi berupa alat dokumentasi, melainkan locus masalahnya. Jika menyangkut kehadiran, bisakah kamera dipandang sebagai publik di masa akan datang? Si performance artist menghadirkan dirinya melalui kamera. Atau kemungkinan-kemungkinan lain yang juga mengeksplorasi batas-batas kemampuan si kamera, dalam hubungannya dengan tubuh, diri, identitas, peristiwa, ruang-waktu.
Bandung, Juni 2006