From the Living Room to Gudskul

Author Ade Darmawan Source NJP Reader #8 Future Museum: Public to Commons, pp.257-267 Publisher Nam June Paik Art Center, Yongin

From the living room to Gudskul

Colophon Mediamedia artArt Editor Sooyoung Lee MediaArtvideo art Translation Hyungju Woo, Insoo Lee new media art Designer Kyuho Kim digital art Published on 31 December 2018 electronic art TV

ⓒ 2018 Nam June Paik Art Center and Author. All rights reserved. No part of this article may be reproduced or used in any form or by any means without written permission of Nam June Paik Art Center and Author. Ade Darmawan

Author 256 NJP Reader #8 Future Museum: Public to Commons, pp.257-267 From the living room to Gudskul Source 257 Publisher Nam June Paik Art Center, Yongin Ade Darmawan

He lives and works in Jakarta as an artist, and curator. He studied at Indonesia Art Institute (I.S.I), in Graphic Art Department. In 1998, he stay in Amsterdam, Netherlands for two years residency at the Rijksakademie Van Beeldende Kunsten. Back in Jakarta in 2000, with five other artists from Jakarta he founded ruangrupa. In 2015 his solo exhibition Magic Centre, Portikus, Frankfurt, Germany and in 2016 in Van AbbeMuseum, Eindhoven, The Netherlands. In 2016 He was participate in Gwangju Biennial and Singapore Biennale. With ruangrupa as an artists’ collective platform have participated in Gwangju Biennale 2002 Korea, and Istanbul Biennale 2005, Asia Pacific Triennial Brisbane 2012, Sao Paulo Biennale 2014, and in 2016 curated Sonsbeek International in the Netherlands. In 2009 he became the artistic director of Jakarta Biennale, and since 2013 he is the executive director of Jakarta Biennale.

Within the Indonesian context, to gather and to assemble an organization or a collective is not a new activity. In the history of From Living Room to Indonesian art, gathering and joining an organization have also had a long and thrilling tale that began in the 1930’s with PERSAGI (Persatuan Ahli-Ahli Gambar Indonesia – Indonesia - Union of Gudskul Indonesian Painters, or Union of Indonesian Drawers) and followed by many others with diverse visions in conjunction with the political and social tensions in each period. In the last two decades, the development of Indonesia’s Colophon Mediamedia artArt Editor Sooyoung Lee contemporary art’s infrastructure has been quite dynamic. The vigorous MediaArtvideo art Translation Hyungju Woo, Insoo Lee growth is marked by the emergences of independent art groups or new media art Designer Kyuho Kim organizations in various cities, and large-scale art activities, such as digital art Published on 31 December 2018 museums, biennales, art fairs and art festivals that are held in major electronic art cities like Jakarta, Bandung, Yogyakarta, Surabaya, Semarang, and TV Bali. At the same time, we have the phenomenon of artist initiatives, collectives, and art spaces which sporadically developed in different cities. With a small amount of financial support (self-funded) they are active in conducting art project, research, and artistic collaboration focusing on local social-political issues especially about cities and the urban environment. But unfortunately, these dynamics are facing ⓒ 2011 Nam June Paik Art Center and Author. All rights reserved. No part of this article may be reproduced or used in any form or by any means significant problems in sustaining the long-term vision, strategy, and without written permission of Nam June Paik Art Center and Author. 259

258

We can keep complaining about the system that does not run well,We can keep complaining about the One of the most fundamental failures of infrastructure was its failures of infrastructure One of the most fundamental

technology and the media. artists who have been profoundly influenced by the development of compare them to the visual culture that is happening in the public by of art that are applied in the current art education institutions as we in society. As an example, we can see how backward the concepts in society. As an example, we can see ideas that had moved just as quickly as the cultural and social changes ideas that had moved just as quickly prior support system which failed to respond to the acceleration of art prior support system which failed to different orientation. This lack of support can also be a failure of the different orientation. This lack of support government-built infrastructures and other infrastructures that held a government-built infrastructures and and social, political, and critical ideas. These were different from the and social, political, and critical ideas. which were derived from the needs caused by the acceleration of art, which were derived from the needs to complete or build and develop an art infrastructure or platform, to complete or build and develop an the recent decade, efforts have been emerging people who were trying the recent decade, efforts have been those circumstances, we can label anything as an alternative model. In those circumstances, we can label anything or the structure that stays incomplete or imperfect. However, in all or the structure that stays incomplete bureaucracy. facilities, funding and further problems that were caused by facilities, funding and further problems art in the society, due to the lack of the human resources capacities, art in the society, due to the lack of offered no systematic support to the movement of the discourse of offered no systematic support to the bad to worse. In reality, the presence of government art institutions bad to worse. In reality, the presence insufficient support from the government made the situation go from from the government made the insufficient support facility, which of course is supported by good management. However, course is supported by good management. facility, which of includes aspect of appreciation, criticism, education, and mediation, appreciation, criticism, education, includes aspect of continue to work, continue to build and manage its relevancy, which continue to build and manage its continue to work, cultural and political realities in the society. It should be able to realities in the society. It should cultural and political art practices and the accelerating developments/changes in social accelerating developments/changes art practices and the failure to make and hold a relevant role in the accelerating field of hold a relevant role in the accelerating failure to make and discussion. discussion. certain issue or ideas that can be developed in an intense and broad in an intense and can be developed or ideas that certain issue before they can be developed. It also means we cannot hope that we cannot hope It also means can be developed. before they regularly and continuously since the discourses or ideas will disappear or ideas will since the discourses and continuously regularly eloped or ideas to be dev discourses to the lack of certain contribute se factors these factors years. All three more than for to survive for organizations ifficult it difficult make problems These organization. of the support financial Infrastructure development and their role, which was taken was taken which their role, and development Infrastructure for research and mapping These collaborations call for a need

atives initiatives and run spaces artists who and collectives various by the of the existing or the infertility the deficiency to complement g to were done accordin very sporadic and had become infrastructure, ationship a synergic rel did not guarantee agendas. It certainly personal on one based a non-centric network, them. The path to between one. a long and winding partnership, is and horizontal collaboration groups and the various forms of cooperation between During this time, from the had involved informal infrastructures organizations, which the emergence of were executed frequently. Mostly, many disciplines, direct opposition, were not intended as a these groups or organizations reaction from or a resistance, or even an immediate nor an antithesis, seen as an instead can be more appropriately the mainstream, but This grew as an implication of idea development. urgent need that mostly run by even when it was small, was infrastructure/practice, concerned or did not give any an independent agenda and not too infrastructure. It is conceivable attention to the existence of prior art were very active with their ideas that a group of creative workers who by the presence or absence of an would not be too directly affected This lack of influence happened art center in another city or region. with mutual influence, which because there was no prior relationship art infrastructure who failed can also be a failure of the preceding vicinity. A need triggered to understand the movements in their through experimentations and most initiative or activity, and then, structure or a model that was according to reality, a collaboration Then it becomes a survival deemed the most appropriate was formed. gaps in the absence of a system or strategy of these groups to fill in the or dreamed, sporadic, and even structure, even if the gap was imagined temporary. persistently, regarding the birth that should be done intensely and or institutions in the fields of and development of collectives and art and culture, so that a foundation for networking and cooperation can be established. This foundation can, in turn, help form networks consisting of small units engaged in each of the localities and strongly connected.

259 259

258 We can keep complaining about the system that does not run well,We can keep complaining about the One of the most fundamental failures of infrastructure was its failures of infrastructure One of the most fundamental or the structure that stays incomplete or imperfect. However, in all or the structure that stays incomplete as an alternative model. In those circumstances, we can label anything emerging people who were trying the recent decade, efforts have been art infrastructure or platform, to complete or build and develop an caused by the acceleration of art, which were derived from the needs These were different from the and social, political, and critical ideas. other infrastructures that held a government-built infrastructures and can also be a failure of the different orientation. This lack of support respond to the acceleration of art prior support system which failed to as the cultural and social changes ideas that had moved just as quickly how backward the concepts in society. As an example, we can see of art that are applied in the current art education institutions as we compare them to the visual culture that is happening in the public by artists who have been profoundly influenced by the development of technology and the media. failure to make and hold a relevant role in the accelerating field of hold a relevant role in the accelerating failure to make and in social accelerating developments/changes art practices and the be able to realities in the society. It should cultural and political relevancy, which continue to build and manage its continue to work, and mediation, appreciation, criticism, education, includes aspect of However, course is supported by good management. facility, which of situation go from from the government made the insufficient support of government art institutions bad to worse. In reality, the presence movement of the discourse of offered no systematic support to the the human resources capacities, art in the society, due to the lack of that were caused by facilities, funding and further problems bureaucracy. ifficult it difficult make problems These organization. of the support financial these factors years. All three more than for to survive for organizations eloped or ideas to be dev discourses to the lack of certain contribute disappear or ideas will since the discourses and continuously regularly that we cannot hope It also means can be developed. before they broad in an intense and can be developed or ideas that certain issue discussion. 261

260 s ’

) s worth ’ organizational (

*** The collectives have become a knowledge sharing and The collectives have become a knowledge

noting that every relation that happened shows specific dynamics and

dynamic with the increased activity of the alternative spaces or artist spaces activity of the alternative with the increased dynamic The art scene of Indonesian contemporary art has grown more grown art has contemporary of Indonesian art scene The

constructing the forms of relations amongst the initiatives. It that differences in focus and interest have played a significant role in can fulfill the requirement of network development. A fact shows opportunity to share knowledge among the communities so that they opportunity to share knowledge among without emphasizing other interests. These processes always use the without emphasizing other interests. are conducted by recognizing the functions and needs of each party are conducted by recognizing the functions various discourses and social practices. These forms of collaboration various discourses and social practices. involving other fields of knowledge that take part in constructing involving other fields of knowledge artistic collaboration. A creative practice could not exist without artistic collaboration. A creative practice has also been accompanied by the need to create cross-disciplinary has also been accompanied by the to share, collaborate, and exchange ideas and friendship. This pattern to share, collaborate, and exchange collaborations could happen because of the intention and basic impulsecollaborations could happen because level through diverse activities and approaches. All these forms of level through diverse activities and have grown at both the individual and communal have grown at both the individual organic artistic collaborations and exchanges of ideas. The relationships relationships The ideas. of exchanges and collaborations artistic organic intensively and continuously. Collaborators and members have woven intensively and continuously. Collaborators transformation platform for different people and practices that lasted transformation platform for different

society. in the effort to clarify the position of artists and their critical ideas in in the effort to clarify the position on the surrounding social situation, in the local and global context and social situation, in the local and on the surrounding many creative new ideas. These are the signs of the concern of artists ideas. These are the signs of the many creative new with the city and urban environment as the main subject, generated urban environment as the main subject, with the city and ical issues artistic collaboration, and social-polit on the process, study, art activities. Events which took form as art projects, with their emphasis which took form as art projects, art activities. Events festivals, video and new media art, performance art, and project-based new media art, performance art, festivals, video and discourse of Indonesian contemporary art, such as art biennales, contemporary art, such as art discourse of Indonesian and networker groups, which offered new and exciting ideas in the which offered new and exciting and networker groups, Medan and Padang. Also, many art activities were organized by artist were organized many art activities Padang. Also, Medan and Makassar, Semarang, Malang, Cirebon, Jatiwangi, Surabaya, Lombok, Surabaya, Cirebon, Jatiwangi, Semarang, Malang, Makassar, ch as in or Yogyakarta su Jakarta, Bandung, cities other than artists in by independently initiated and managed spaces that were initiative Constant and intense artistic practices and negotiations with the with practices and negotiations and intense artistic Constant one that is based on The path to a non-centric network,

forms of forms at various look back to the effort It is worth characteristics. internationally. locally and both that occur collaborations ess. the learning proc have shaped and surroundings state, privates, fits and bene with all the limitations strategy to survive Finding a faced always have to be things that and uncertain of local resources to surviving One approach for these communities. is a challenge of knowledge learning process is to find sources and facilitating the informal many sources that include either and experiences from among art networks. The building of networks or institutionalized with a similar from several different cities collectives and initiatives and artistic a platform for exchanging knowledge vision can serve as or a platform each other. It becomes a forum strategy and can inspire in the the bargaining power of these organizations that can strengthen ion in and political context. One considerat broader social, cultural, them as an expansion of learning building up networks is to think of resource. However, activities, as well as enriching the knowledge is almost impossible without developing a regional network project that have been developed seeing the local networks in other countries, These regional networks in another way, both formal and informally. and mediating the local network play an important role in supporting network is an extension of the in each country. Imagine the regional is developed and set with the local network. The regional network By this constellation, both consideration to support the local network. and positions and relate and be networks will find their essential roles relevant to each other. is a long and winding one. collaboration and horizontal partnership of collaboration that were done During this time, the various forms Building a decentralized network, between groups and organizations. partnerships, will have a lot of based on collaboration and horizontal institutions that will also types of cooperation carried out between involve the formal infrastructure of various disciplines. In the end, it can form a network that consists of small units that are exciting and vibrant in every region and are intensively interconnected. It can also provide sufficient content or issues to share so that each network

261 261

260 s ’

) s worth ’ organizational ( *** The collectives have become a knowledge sharing and The collectives have become a knowledge noting that every relation that happened shows specific dynamics and The art scene of Indonesian contemporary art has grown more grown art has contemporary of Indonesian art scene The or artist spaces activity of the alternative with the increased dynamic level through diverse activities and approaches. All these forms of level through diverse activities and of the intention and basic impulsecollaborations could happen because ideas and friendship. This pattern to share, collaborate, and exchange need to create cross-disciplinary has also been accompanied by the could not exist without artistic collaboration. A creative practice that take part in constructing involving other fields of knowledge These forms of collaboration various discourses and social practices. and needs of each party are conducted by recognizing the functions These processes always use the without emphasizing other interests. the communities so that they opportunity to share knowledge among can fulfill the requirement of network development. A fact shows that differences in focus and interest have played a significant role in constructing the forms of relations amongst the initiatives. It transformation platform for different people and practices that lasted transformation platform for different and members have woven intensively and continuously. Collaborators relationships The ideas. of exchanges and collaborations artistic organic and communal have grown at both the individual by independently initiated and managed spaces that were initiative ch as in or Yogyakarta su Jakarta, Bandung, cities other than artists in Lombok, Surabaya, Cirebon, Jatiwangi, Semarang, Malang, Makassar, by artist were organized many art activities Padang. Also, Medan and ideas in the which offered new and exciting and networker groups, biennales, contemporary art, such as art discourse of Indonesian and project-based new media art, performance art, festivals, video and with their emphasis which took form as art projects, art activities. Events ical issues artistic collaboration, and social-polit on the process, study, generated urban environment as the main subject, with the city and concern of artists ideas. These are the signs of the many creative new global context and social situation, in the local and on the surrounding of artists and their critical ideas in in the effort to clarify the position society. 263

262 **** Living room

The onset of the exchange of practices and knowledge have made knowledge have of practices and of the exchange The onset The diverse academic backgrounds of the members of the The diverse academic backgrounds

s a process of merging. In the process of realization and artistic In the process of realization and s a process of merging. ’ focusing on exhibition, festival, research, and networking. All these developed ourselves into a collective with various divisions, each Ruangrupa is an art organization founded in early 2000. We have

it a collective space as a forum for gathering a wide range of knowledge; as a forum for gathering a wide range a collective space knowledge as an essential contribution in the region. contribution in the as an essential knowledge ing the and distribut by producing, sharing, discourse more significant are relevant and important regionally and furthermore develop it into a develop regionally and furthermore and important are relevant network becomes a platform that is conducting a map of what issues a map of what that is conducting becomes a platform network . The issues . The specific discuss share or reason to a strong have member es each It mak es each context. local to each be relevant relate and can member

production and distribution from the power of the elite. production and distribution from the artistic practices, events, and engagements liberates knowledge artistic practices, events, and engagements and experience-based learning that has spread and extends through and experience-based learning that has to be formalized for better accessibility and replicable. The hybrid has to be formalized for better accessibility formed from the practice operating the collectives for many years that formed from the practice operating to share and are non-centralized. They have much knowledge that to share and are non-centralized. They collectives become an open educational platform based on the desire collectives become an open educational spontaneous meetings, and even through manageable conflict. The spontaneous meetings, and even through involved. This new knowledge is discovered through intense, sporadic, involved. This new knowledge is discovered ideas, it propagates knowledge and becomes a place of learning for all ideas, it propagates knowledge and collective and the intensity of the meeting create a new space and collective and the intensity of the meeting others. process becomes experience and knowledge that can be passed on to process becomes experience and knowledge are equally important in the process. Accepting failure as part of the are equally important in the process. these uncertainties becomes a luxury. However, failure and success becomes a luxury. However, failure these uncertainties of funding, time, and human resources. The ability to consider all and human resources. The ability of funding, time, because the situations are often faced with uncertainty, in terms are often faced with uncertainty, because the situations flows through the network. A lot of speculation done in daily practice network. A lot of speculation done flows through the This knowledge is simulated through events and experiences and simulated through events and experiences This knowledge is practice, the merging and fusion of diverse knowledge are proceeding. and fusion of diverse knowledge practice, the merging s creative works that are s creative ’ such as architects, musicians, musicians, such as architects, — c– Jakarta Students Art Festival, OK c– Jakarta Students Art Festival, OK ’ is not supported with the sustainability and development is not supported with the sustainability ’ As previously mentioned, many artist groups, organizations, and As previously mentioned, many artist

laboratory

angrupa work. Ru based on collaboration urban surroundings, critical to city in bringing that is consistent an organization has also become it further focus and continuously elaborates discourse as its primary projects and as a part of the creative process. Art through research diverse fields many artists and people from workshops that involve has created center on city issues discussions of studies that always public spaces, in the form of various objects in many visual artworks of urban and audio visual. In this setting installations, photographs, and provides a also emphasizes expanding studies society, Ruangrupa developments new media works, which in the last place for video and technology and its relation to are very relevant in seeing art and has developed since the society. Several activities that Ruangrupa beginning of 2000 are Jakarta 32 Video – Jakarta International Media Arts Festival, ArtLAb that focus Video – Jakarta International Media art projects, Karbon- arts, on artistic research and social issues-based sees that its function as a and a culture online journal. Ruangrupa ‘ were achieved by mastering the art of organizing. Being true to our Being art of organizing. the by mastering achieved were composed are now we visual artists, besides vision, interdisciplinary disciplines from various of individuals 17 years, 17 years, For more than and journalists. writers, designers, researchers, visual art has been advancing Ruangrupa of other elements such as visual art critics and research, education, of other elements such as visual art requirements to form discussions, publishing, and exhibition spaces as in both national as well as appreciation, and information distribution, international forums. to realize visual art creative works, initiatives are appearing nowadays to survive. These organizations, deal with their obstacles and find ways their awareness in management although many are small, have shown to the public. However, the and in extending the scope of discourse be seen or heard if the artists or sporadic movement surely will not the creative projects do not have a space to grow and develop as well as discover their critical exploration. Not many of the artists that have participated and created original works continue to create works since it is difficult for them to find the next platform where they can

263 263

262 **** Living room The onset of the exchange of practices and knowledge have made knowledge have of practices and of the exchange The onset The diverse academic backgrounds of the members of the The diverse academic backgrounds s a process of merging. In the process of realization and artistic In the process of realization and s a process of merging. ’ Ruangrupa is an art organization founded in early 2000. We have developed ourselves into a collective with various divisions, each focusing on exhibition, festival, research, and networking. All these a collective space as a forum for gathering a wide range of knowledge; as a forum for gathering a wide range a collective space it es each It mak es each context. local to each be relevant relate and can member issues . The specific discuss share or reason to a strong have member issues a map of what that is conducting becomes a platform network it into a develop regionally and furthermore and important are relevant ing the and distribut by producing, sharing, discourse more significant region. contribution in the as an essential knowledge collective and the intensity of the meeting create a new space and collective and the intensity of the meeting becomes a place of learning for all ideas, it propagates knowledge and through intense, sporadic, involved. This new knowledge is discovered manageable conflict. The spontaneous meetings, and even through platform based on the desire collectives become an open educational have much knowledge that to share and are non-centralized. They the collectives for many years that formed from the practice operating and replicable. The hybrid has to be formalized for better accessibility has spread and extends through and experience-based learning that liberates knowledge artistic practices, events, and engagements power of the elite. production and distribution from the practice, the merging and fusion of diverse knowledge are proceeding. and fusion of diverse knowledge practice, the merging and simulated through events and experiences This knowledge is in daily practice network. A lot of speculation done flows through the in terms are often faced with uncertainty, because the situations to consider all and human resources. The ability of funding, time, and success becomes a luxury. However, failure these uncertainties Accepting failure as part of the are equally important in the process. that can be passed on to process becomes experience and knowledge others. 265

Meetings and sharing through conversations have become through conversations have become Meetings and sharing At least two common tendencies could be observed among the among the could be observed common tendencies At least two The financial ability to rent in a certain area also shows that the

such, an initiative working place: these are easy to find and the rents are affordable. As working place: these are easy to find There are practical reasons behind the choice of a rented house as a There are practical reasons behind area––a secular area, a melting pot of people from various backgrounds. area––a secular area, a melting pot archives. Typically, it is a rented house in a middle-class residential archives. Typically, it is a rented house bedrooms into working spaces or studios, a library, and a space for bedrooms into working spaces or studios, the living room into a meeting space and exhibition space; and the the living room into a meeting space and adapting the domestic space into a more public space, converting and adapting the domestic space into house as the starting point and the center of their activities, altering house as the starting point and the homes. All the groups and collectives above used the living room of a homes. All the groups and collectives living room, since it is the largest room in most typical Indonesian living room, since it is the largest room these things to happen. Such meetings most often took place in the these things to happen. Such meetings important, and a house provided a very comfortable space for allowing important, and a house provided a time from those of previous generations. time from those of role and type of these artists role and type of these and as support systems in the art ecosystem, clearly distinguishes the in the art ecosystem, clearly and as support systems research. The combination of these two practices, as artist collectives of these two practices, as research. The combination publications, film and video screenings, websites, archiving, and and video screenings, websites, archiving, publications, film broad public, such as exhibitions, workshops, festivals, discussions, as exhibitions, workshops, festivals, broad public, such activities or programs that raised public awareness aimed at the that raised public awareness aimed activities or programs played the role of a support system within the art ecosystem, through art ecosystem, system within the role of a support played the statement as a group. Secondly, these artists as a group. Secondly, statement ir artistic ir artistic constituted the or individual, whether collaborative practices, ir artistic ir artistic First, the in the exhibition. and groups involved organizations to be expanded. to be ourses discourses new also prevents state This discussion. a deeper continue other residents in the area. Most artists usually also divide their time artists come from more or less the same social and economic class as for living and a space for working and gathering. and working space. Thus, the house can have two functions: as a space and working space. Thus, the house used to serve the various combined interests of the group, as a living used to serve the various combined collected from members of the group. The rented house is often also collected from members of the group. The lease usually applies for a year, and the rent is paid with money The lease usually applies for a year,

imagines ” a strategy built on friendship — s initiative. This kind of group, this s initiative. This kind ’ living together with the people “ s relationship within a society: it exists within the s relationship within a society: it exists ’ Assustainability ideas of **** Lumbung and Study process in GUDSKUL Ekosistem - l itself as a vita the group positions living room, From a simple The position of

community and becomes a part of it community and becomes a part of an art institution Our biggest challenge is how to create a platform that can sustain this Our biggest challenge is how to create the increasingly rapid changes artistic practice and translate it within is a form of an ecosystem. in society. The new model we propose with the web we have Conceptually, Ruangrupa and together have established a collective developed throughout our existence, mutual and based on living-working culture that is collaborative, sharing resources in the forms friendships. Organically, we have been of human, time, energy, knowledge, besides financial and other tangible materials. The most valuable shared wealth we possess is our diverse approaches. We have been working together for the past 17 years, beyond just developing further our web of networks, but also ancers, or freel ancers, part-time industries, or media the creative in as workers or mixed area housing a working-class choose groups Most students. area businesses. A mixed small to medium residences and areas with for diverse kinds of it is also a place suitable because is particularly enterprises. independent unity, art and the comm for both supporting infrastructure part of the citizen becoming a stand-alone and collective enjoyment. type of initiative, which typically uses a residential house as its which typically uses a residential house type of initiative, among the ground, imagines itself as living basecamp or meeting or a call for in a residential area is an opening, people. Its presence community and dialog with the values of the a skill, to negotiate activities are together with the people, its surrounding it. Living these values, with an awareness of, and alongside naturally carried out and may even tap from them. The direct the or indirect involvement of artistic exploration, influenced by nearby residents can be a strategy of those residents.

265 265

264 groups and organizations groups and ’ groups and organizations emerging at this groups and organizations ’ s space has a better chance of surviving financially. s space has a better chance of surviving ’ Meetings and sharing through conversations have become through conversations have become Meetings and sharing At least two common tendencies could be observed among the among the could be observed common tendencies At least two The financial ability to rent in a certain area also shows that the important, and a house provided a very comfortable space for allowing important, and a house provided a most often took place in the these things to happen. Such meetings in most typical Indonesian living room, since it is the largest room above used the living room of a homes. All the groups and collectives center of their activities, altering house as the starting point and the a more public space, converting and adapting the domestic space into and exhibition space; and the the living room into a meeting space a library, and a space for bedrooms into working spaces or studios, in a middle-class residential archives. Typically, it is a rented house of people from various backgrounds. area––a secular area, a melting pot the choice of a rented house as a There are practical reasons behind and the rents are affordable. As working place: these are easy to find such, an initiative time from those of previous generations. time from those of played the role of a support system within the art ecosystem, through art ecosystem, system within the role of a support played the at the that raised public awareness aimed activities or programs discussions, as exhibitions, workshops, festivals, broad public, such and and video screenings, websites, archiving, publications, film artist collectives of these two practices, as research. The combination distinguishes the in the art ecosystem, clearly and as support systems artists role and type of these ir artistic ir artistic First, the in the exhibition. and groups involved organizations ir artistic constituted the or individual, whether collaborative practices, these artists as a group. Secondly, statement ourses discourses new also prevents state This discussion. a deeper continue expanded. to be artists come from more or less the same social and economic class as other residents in the area. Most artists usually also divide their time The lease usually applies for a year, and the rent is paid with money The lease usually applies for a year, The rented house is often also collected from members of the group. interests of the group, as a living used to serve the various combined can have two functions: as a space and working space. Thus, the house for living and a space for working and gathering. 267

266 . All three have ) literally, a rice barn, literally, s village-based s village-based ’ — GHH ( practically and discursively. In the contemporary practically and discursively. In the —

Since the establishment of our ecosystem, we have introduced have introduced our ecosystem, we establishment of Since the Gudskul: contemporary art collective and ecosystem studies is a art collective and ecosystem Gudskul: contemporary To achieve these goals, we designed Gudskul as a space for study, To achieve these goals, we designed Believing that art and artists can no longer exist for their own sake, sake, own their for exist longer no can artists and art that Believing

a term commonly used by farmers in Indonesia used by a term commonly what in Indonesia is referred to as a lumbung is referred what in Indonesia these webs. these ty of ty of the sustainabili to guarantee ecosystem replicable a developing Ruangrupa, Serrum, and Grafis Huru Hara Ruangrupa, Serrum, public learning space established by three Jakarta-based art collectives: established by three Jakarta-based public learning space specific programs and human resources. specific programs resources include all tangible and non-tangible elements, including our all tangible and non-tangible elements, resources include owned by each collective/group are deposited and stored. These and stored. These are deposited each collective/group owned by agricultural system. A lumbung is a collective pot, where all resources pot, where all is a collective system. A lumbung agricultural

collectives serves as a support. to existing resources and networks maintained by the founding while collaboratively determining the shared road ahead, while access Gudskul, participants will be involved directly in an artistic ecosystem unaccredited one-year study program has a dynamic curriculum. In unaccredited one-year study program produced experience-based learning and sharing. This non-degree and produced experience-based learning of the process through critical and experimental dialogues, and of the process through critical and performed collective practice simulations, advocated the importance performed collective practice simulations,

organically act as producers, mediators, distributors, and networkers. organically act as producers, mediators, in society. Using this approach, artists then simultaneously and in society. Using this approach, artists to encourage the initiative spirit in artistic and cultural initiatives to encourage the initiative spirit in experimentations of power are formed. We established Gudskul experimentations of power are formed. practice, openness, pluralism, collaboration, exchange of ideas and practice, openness, pluralism, collaboration, which understandings towards notions such as interdisciplinary which understandings towards notions art realm, these methods of practice are consequential, through art realm, these methods of practice a stand in society practicing collectivity and working collaboratively are methods to take practicing collectivity and working equality, sharing, solidarity, friendship, and togetherness. equality, sharing, solidarity, friendship, to practice an expanded understanding of collective values, such as to practice an expanded understanding working. In 2015, they further collectively formed a co-ecosystem, they further collectively formed a working. In 2015, the early 2000s, by practicing a collective and collaborative mode of practicing a collective and collaborative the early 2000s, by actively immersed themselves into the contemporary art realm since themselves into the contemporary actively immersed

’ experimentations and experimentations ’ . To achieve the aforementioned ) distribution ( : artists, art managers, curators, researchers, and researchers, managers, curators, : artists, art ) We established Gudskul to encourage the initiative spirit in artistic spirit initiative the to encourage Gudskul We established On the other hand, a collective is an organizational system or a collective is an organizational system On the other hand, but not limited to but not limited (

goals, Gudskul employs a series of experiential learning process goals, Gudskul employs a series of works, field trips, internships, and using face-to-face meetings, studio participants are operating within residencies as our methods. Gudskul many actors are co-operating; an Ekosistem environment, in which researchers, musicians, film artists, curators, art writers, managers, designers, street artists, among directors, architects, cooks, filmmakers, diversity renders Gudskul as a rich many other individual skills. This in enriching participants and dynamic Ekosistem, a fertile ground learning experience. Gudskul consists of collectives focusing on learning experience. Gudskul consists This diversity also contributes different artistic practice and media. involved in every collaborative to diversifying the issues and actors project happening within. other cultural practitioners interested in networked praxis. Gudskul interested in networked other cultural practitioners platform. established in 2018 as an educational is our new platform be a space for participants It is conceived to agents agents for future looking We are in society. initiatives and cultural ively contributing act necessities while their focus on local who put are for those who are opening Gudskul spheres. We in international tistic ar to develop collective-based in learning together, interested such methods, artistic production collaboration-focused practice and as ive work collaboratively as a collective. Collaborat simulations to work and equality are or method where togetherness is an operating pattern something together. practiced to produce individuals based on the agreement of many management model and sustain specific objectives, with various backgrounds to achieve values, and intentions

267 267

266 . All three have ) literally, a rice barn, literally, s village-based s village-based ’ — GHH ( practically and discursively. In the contemporary practically and discursively. In the — Since the establishment of our ecosystem, we have introduced have introduced our ecosystem, we establishment of Since the Gudskul: contemporary art collective and ecosystem studies is a art collective and ecosystem Gudskul: contemporary To achieve these goals, we designed Gudskul as a space for study, To achieve these goals, we designed Believing that art and artists can no longer exist for their own sake, sake, own their for exist longer no can artists and art that Believing a term commonly used by farmers in Indonesia used by a term commonly what in Indonesia is referred to as a lumbung is referred what in Indonesia ty of ty of the sustainabili to guarantee ecosystem replicable a developing webs. these public learning space established by three Jakarta-based art collectives: established by three Jakarta-based public learning space and Grafis Huru Hara Ruangrupa, Serrum, agricultural system. A lumbung is a collective pot, where all resources pot, where all is a collective system. A lumbung agricultural and stored. These are deposited each collective/group owned by including our all tangible and non-tangible elements, resources include and human resources. specific programs performed collective practice simulations, advocated the importance performed collective practice simulations, experimental dialogues, and of the process through critical and and sharing. This non-degree and produced experience-based learning has a dynamic curriculum. In unaccredited one-year study program Gudskul, participants will be involved directly in an artistic ecosystem while collaboratively determining the shared road ahead, while access to existing resources and networks maintained by the founding collectives serves as a support. art realm, these methods of practice are consequential, through art realm, these methods of practice such as interdisciplinary which understandings towards notions exchange of ideas and practice, openness, pluralism, collaboration, We established Gudskul experimentations of power are formed. artistic and cultural initiatives to encourage the initiative spirit in then simultaneously and in society. Using this approach, artists distributors, and networkers. organically act as producers, mediators, practicing collectivity and working collaboratively are methods to take practicing collectivity and working a stand in society actively immersed themselves into the contemporary art realm since themselves into the contemporary actively immersed mode of practicing a collective and collaborative the early 2000s, by co-ecosystem, they further collectively formed a working. In 2015, of collective values, such as to practice an expanded understanding and togetherness. equality, sharing, solidarity, friendship,