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Downloaded4.0 License Bijdragen tot de Taal-, Land- en Volkenkunde 175 (2019) 446–473 bki brill.com/bki The Countryside in Indonesian Contemporary Art and Media From Distant Horizons to Traversing Drones Edwin Jurriëns The University of Melbourne [email protected] Abstract This article analyses explorations of social and environmental problems and solutions in artistic representations of the Indonesian countryside and rural society, culture, and wisdom. It focuses on urban–rural creative collaborations that combine tradi- tional culture and knowledge with modern technology and media, such as drones and the Internet, to empower local communities, promote artistic innovation, and enhance environmental sustainability. It seeks to demonstrate that contemporary art and media strengthen the urban–rural network and the accessibility and exchange of creative ideas and information. At the same time, the author argues that some of the causes of cultural conflict and anthropogenic disaster are embedded in forms of audio-visual representation itself. The display of urban–rural encounters in art fest- ivals and social media can even instigate new forms of surveillance, and power and knowledge hierarchies, or reinforce regimes of consumer culture, partially respons- ible for the very problems the audio-visual representations and collaborations seek to address. Keywords contemporary art – rural culture – environmental problems – creative collaboration – Indonesia This article analyses explorations of social and environmental problems and solutions in artistic representations of the Indonesian countryside and rural society, culture, and wisdom. It focuses on urban–rural creative collaborations © edwin jurriëns, 2019 | doi:10.1163/22134379-17502023 This is an open access article distributed under the terms of the CC-BY-NCDownloaded4.0 License. from Brill.com09/26/2021 12:15:31AM via free access the countryside in indonesian contemporary art and media 447 that combine traditional culture and knowledge with modern technology and media, such as drones and the Internet, to empower local communities, pro- mote artistic innovation, and enhance environmental sustainability. It critic- ally examines these representations and collaborations by positioning them in a history of artistic engagements with the environment and the countryside in the Indonesian archipelago, dating back to modern painting traditions during colonial times. The main case study of this article deals with collaborations between the Bandung-based Common Room Networks Foundation and the Kasepuhan Ciptagelar community in rural West Java. These collaborations include the expansion of the community’s digital infrastructure, the geospatial mapping of the Ciptagelar territory, the digital collection and distribution of traditional knowledge, and joint artistic projects. Artists from Kasepuhan Ciptagelar have also hosted and worked with international artists, sometimes through the Com- mon Room Networks Foundation, and have presented their art and community at festivals, conventions, and media outlets in Asia, Europe, Australia, and North America. This includes the recent, multi-year international collaborat- ive project Age of Wonderland, initiated by Baltan Laboratories, HIVOS, and the Dutch Design Foundation in the city of Eindhoven in the Netherlands. There are also numerous audio-visual art projects, documentaries, news broadcasts, and amateur videos related to Kasepuhan Ciptagelar on YouTube and other Internet platforms. My article analyses audio-visual forms of creativity that are accessible on the various digital platforms, but it is also based on ongoing obser- vations of the art scene and the media inWest Java since 1997 and conversations with, and research about, the Common Room Networks Foundation and other visual artists since 2008. This article seeks to demonstrate that contemporary art and media strength- en the urban–rural network and the accessibility and exchange of creative ideas and information. In this sense, they express a desire for coevality, or the creation of a shared space for respecting differences and seeking common grounds. I show that professional art production, social media, and community initiatives have become intertwined and blurred in contemporary activism, notwithstanding some of the differences in logics, assumptions, and audiences underlying the various genres. I also argue that some of the causes of cultural conflict and anthropogenic disaster are embedded in forms of audio-visual representation itself, including the display of urban–rural encounters in art festivals and social media. Art and social media projects highlighting social and environmental deterioration do not always cover the broader political contexts and questions of agency and responsibility. They can even instigate new forms of surveillance, and power and knowledge hierarchies, or reinforce regimes of Bijdragen tot de taal-, land- en volkenkunde 175Downloaded (2019) from 446–473 Brill.com09/26/2021 12:15:31AM via free access 448 jurriëns consumer culture, partially responsible for the very problems the audio-visual representations and collaborations seek to address. 1 Contemporary Art and Coevality Art is, to a greater or lesser extent, an expression of the socio-political condi- tions in which it is created. In that sense, contemporary art is not any different from other forms of art. Unlike other forms of art, however, it turns the contem- porary into a dominant theme and integral aspect of its media, styles, and sites of display. The contemporary here implies ‘presentness, being in the present, beings who are present to each other, to the time they happen to be in’ (Smith 2008:8). Contemporary art acknowledges ‘the power of the present’ and does not see it merely as a ‘transition from the past to the future’ (Smith 2008:7). This urgency of presentness is not found in other styles, such as modern real- ism, which aims at outlasting its ‘necessary contemporaneity’ and secure its place in eternity (Smith 2008:4). Contemporary art, on the other hand, estab- lishes and thematizes connections with people, objects, and environments in the here and now. It is less concerned with representing or imagining the condi- tions of the ‘there and then’,although its focus on presentness does not exclude engagements with the past or visions for the future. Terry Smith (2013, 2016) identifies various ‘contemporaneous currents’, each with their own artistic ways of engaging with the world, and different worlds within the world. These engagements can range from re-adaptations of mod- ernist and postmodernist formats to anti-imperialist, nationalist, internation- alist, or cosmopolitan imagery (Smith 2013:189). Recent information and com- munication technology has also facilitated the emergence of interactive, Do-It- Yourself (DIY) style art works, spaces, and networks, which examine the realit- ies of the present and explore small-scale, alternative scenarios for the future (Smith 2016:14, 25). In Smith’s (2016:12) view, this last contemporaneous current is not about erasing difference but about respecting the identity of others and ‘[picturing] all of the worlds in which we live in their real relation to each other; work together to create and sustain a viable sense of place for each of us; estab- lish and maintain coeval connectivity between worlds and places’. It expresses a desire for coevality, or ‘the coeval commons’, which is deemed necessary for dealing with the major challenges of our age, including climate change and the risk of the ‘Sixth Extinction’ (Smith 2016:14, 25). In Indonesian contemporary art, new-media art collectives have expressed this desire for coevality by bringing different agents, materials, and spaces, including previously unnoticed or disregarded ones, in creative and critical Bijdragen tot de taal-, land- en volkenkundeDownloaded 175 from (2019) Brill.com09/26/2021 446–473 12:15:31AM via free access the countryside in indonesian contemporary art and media 449 dialogue with each other. Their main focus has been on exploring the socio- cultural, political, and material dimensions of urban life in Indonesia. They have addressed urban problems and solutions by creating their own virtual and physical community spaces; collaborative and/or interactive, process-based multi-media works; and interdisciplinary, multi-actor networks. Some of the most active collectives include ruangrupa (established in 2000) and Forum Lenteng (2003) in Jakarta; the Common Room Networks Foundation (2001/ 2006) in Bandung; Ruang Mes 56 (2002), The House of Natural Fiber (1999), XXLab (2013), and Lifepatch (2012) in Yogyakarta; and WAFT (2011) in Surabaya (Jurriëns 2014:174–7).1 Their emergence since the late 1990s has been steered by the greater freedom of expression after the fall of President Soeharto’s New Order regime (1967–1998) and the increased availability of digital hard- and software for creative production, distribution, and consumption, among oth- ers. Their desire for coevality has not only been expressed through their cos- mopolitan networking with similar collectives elsewhere in the world but also through collaborations with NGOs, community groups, schools, universities, religious organizations, businesses, and regional and national governments in Indonesia. Their creativity and criticality play a crucial role in mediating between groups that rarely meet in daily life and in highlighting, and possibly providing solutions to, pressing contemporary issues such as poverty and pol- lution,
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