Katalog Hutan Di Titik Nol.Cdr

Art Exhibition “Hutan di Titik Nol” Katalog ini dibuat sebagai suplemen pada acara Climate Art Festival pada pameran seni berjudul:

“Hutan di Titik Nol”

Pengarah Artistik Bram Satya

2-12 Oktober 2013 Sangkring Art Space Nitiprayan RT 01 RW 20 No. 88, Ngestiharjo, Kasihan, Bantul, Yogyakarta

Penulis Ade Tanesia Christina Schott

Desain Wimbo Praharso

This Catalogue is published to accompany Climate Art Festival Event Art Exhibition:

“GROUND ZERO FOREST”

Artistic Director Bram Satya

Oct 2nd - 12th, 2013 Sangkring Art Space Nitiprayan RT 01 RW 20 No. 88 Ngestiharjo, Kasihan, Bantul, Yogyakarta.

Writer Ade Tanesia Christina Schott Art Exhibition

Design Wimbo Praharso “Hutan di Titik Nol”

Cover: Katia Engel “Hujan Abu / Grey Rain“ Katalog ini dibuat sebagai suplemen pada acara Climate Art Festival pada pameran seni berjudul:

“Hutan di Titik Nol”

Pengarah Artistik Bram Satya

2-12 Oktober 2013 Sangkring Art Space Nitiprayan RT 01 RW 20 No. 88, Ngestiharjo, Kasihan, Bantul, Yogyakarta

Penulis Ade Tanesia Christina Schott

Desain Wimbo Praharso

This Catalogue is published to accompany Climate Art Festival Event Art Exhibition:

“GROUND ZERO FOREST”

Artistic Director Bram Satya

Oct 2nd - 12th, 2013 Sangkring Art Space Nitiprayan RT 01 RW 20 No. 88 Ngestiharjo, Kasihan, Bantul, Yogyakarta.

Writer Ade Tanesia Christina Schott Art Exhibition

Design Wimbo Praharso “Hutan di Titik Nol”

Cover: Katia Engel “Hujan Abu / Grey Rain“ The Climate Art Festival tentang topik tersebut. pengetahuan yang dapat ditransfer, - Sebuah proyek seni lingkungan antar budaya - Sebagai salah satu negara industri pemahaman antar budaya dan jaringan terkaya, pemerintah Jerman memiliki sosial memainkan peran penting dalam Latar belakang tanggung jawab atas sejarah pada emisi hal ini . Sebagai negara kepulauan terbesar di karbon secara global. Dalam perjalanan dunia, Indonesia tentunya mengalami dari kesadaran ekologis yang tumbuh Implementasi dampak dari perubahan iklim paling inilah pemerintah Jerman Ide untuk Climate Art Festival ini muncul besar. Pemerintah Indonesia memang menerjemahkan pertanggung jawaban ini ketika brainstorming pada beberapa menandatangani semua perjanjian dengan mendukung negara-negara proyek antarbudaya yang menyampaikan internasional yang penting pada tindakan berkembang sebagai tujuan melindungi kebutuhan global untuk tindakan untuk melawan perubahan iklim, tetapi iklim saat ini. Juga dengan menjalin mengenai masalah lingkungan kepada langkah-langkah terkait belum mencapai prioritas kemitraan pada isu perubahan masyarakat lokal. Pekerja Seni, wartawan sebagian besar penduduk. Negara ini iklim Indonesia sebagai salah satu dari dan aktivis lingkungan yang kebetulan diklasiﬁkasikan sebagai produser terbesar isu- isu dasar dalam pembangunan semuanya perempuan berasal dari ketiga penghasil gas rumah kaca di dunia kooperasi Jerman, terutama berfokus Indonesia dan Jerman, bekerja bersama- - terutama diakibatkan oleh kerusakan pada "Alam dan Perlindungan Iklim" , sama untuk menyatukan potongan demi yang cepat dari hutan hujan. Perubahan "Lalu Lintas Kota Pengurangan Emisi" dan potongan untuk rangkaian program ini. yang dihasilkan dari kondisi iklim ini "Hutan dan Perlindungan Iklim". Jogjakarta sebagai kota budaya membuat petani paling terpukul, atas metropolis paling penting di Indonesia kehilangan mata pencaharian mereka Tujuan dan kota pelajar terbesar dengan nuansa atau mengalami bencana alam akibat Climate Art Festival ini ingin mentransfer pedesaan tradisional sekitarnya tampak perbuatan manusia, seperti juga nelayan kerjasama Jerman - Indonesia dari tingkat ditakdirkan sebagai lokasi untuk acara ini. yang dihadapkan dengan perubahan politik - ilmiah ke tingkat budaya. Seni, Galeri lokal, studio dan pekerja seni dan yang tidak biasa dari laut dan kehidupan Musik dan Pertunjukan adalah media kelompok aktivis merespon dengan baik laut. yang mampu menjangkau publik yang terhadap gagasan dan berkat dukungan Namun kemudian penduduk perkotaan lebih luas dan membuka kemungkinan- dana dari Kedutaan Besar Jerman untuk dan industri juga semakin banyak kemungkinan baru untuk berkomunikasi Indonesia, Kerjasama Pembangunan menghadapi dampak dari perubahan mengenai hal ini dengan masyarakat Jerman (GIZ) , Goethe-Institut iklim, yaitu meningkatnya suhu dan tanpa keahlian khusus pada topik. Indonesien dan organisasi bantuan polusi di daerah metropolitan dan Lokakarya dapat menjadi proyek konkrit Misereor, Climate Art Festival dapat melonjaknya persoalan pada pasokan sebagai langkah awal yang bisa berlanjut direalisasikan. energi. Oleh karena itu - di samping kemudian setelah festival dan keputusan politik – sangat dibutuhkannya memberikan contoh bagi orang lain Christina Schott © 2013 ide-ide praktis, bagaimana masyarakat dengan cara yang berkelanjutan. umum dapat menangani masalah ini Targetnya adalah untuk menunjukkan dengan kehidupan sehari-hari mereka bahwa bahkan masyarakat kecil secara dan menyesuaikan kebiasaan mereka. aktif dapat bertindak melawan Sementara pemisahan sampah, hemat perubahan iklim dan kerusakan energi dan pertanian organik sudah lingkungan : dengan menggunakan menjadi rutinitas umum di negara-negara energi alternatif, pengelolaan sampah barat, kebanyakan masyarakat Indonesia kolektif atau mendesain ulang ruang bahkan belum pernah mendengar publik. Mengenai pentingnya

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” The Climate Art Festival tentang topik tersebut. pengetahuan yang dapat ditransfer, - Sebuah proyek seni lingkungan antar budaya - Sebagai salah satu negara industri pemahaman antar budaya dan jaringan terkaya, pemerintah Jerman memiliki sosial memainkan peran penting dalam Latar belakang tanggung jawab atas sejarah pada emisi hal ini . Sebagai negara kepulauan terbesar di karbon secara global. Dalam perjalanan dunia, Indonesia tentunya mengalami dari kesadaran ekologis yang tumbuh Implementasi dampak dari perubahan iklim paling inilah pemerintah Jerman Ide untuk Climate Art Festival ini muncul besar. Pemerintah Indonesia memang menerjemahkan pertanggung jawaban ini ketika brainstorming pada beberapa menandatangani semua perjanjian dengan mendukung negara-negara proyek antarbudaya yang menyampaikan internasional yang penting pada tindakan berkembang sebagai tujuan melindungi kebutuhan global untuk tindakan untuk melawan perubahan iklim, tetapi iklim saat ini. Juga dengan menjalin mengenai masalah lingkungan kepada langkah-langkah terkait belum mencapai prioritas kemitraan pada isu perubahan masyarakat lokal. Pekerja Seni, wartawan sebagian besar penduduk. Negara ini iklim Indonesia sebagai salah satu dari dan aktivis lingkungan yang kebetulan diklasiﬁkasikan sebagai produser terbesar isu- isu dasar dalam pembangunan semuanya perempuan berasal dari ketiga penghasil gas rumah kaca di dunia kooperasi Jerman, terutama berfokus Indonesia dan Jerman, bekerja bersama- - terutama diakibatkan oleh kerusakan pada "Alam dan Perlindungan Iklim" , sama untuk menyatukan potongan demi yang cepat dari hutan hujan. Perubahan "Lalu Lintas Kota Pengurangan Emisi" dan potongan untuk rangkaian program ini. yang dihasilkan dari kondisi iklim ini "Hutan dan Perlindungan Iklim". Jogjakarta sebagai kota budaya membuat petani paling terpukul, atas metropolis paling penting di Indonesia kehilangan mata pencaharian mereka Tujuan dan kota pelajar terbesar dengan nuansa atau mengalami bencana alam akibat Climate Art Festival ini ingin mentransfer pedesaan tradisional sekitarnya tampak perbuatan manusia, seperti juga nelayan kerjasama Jerman - Indonesia dari tingkat ditakdirkan sebagai lokasi untuk acara ini. yang dihadapkan dengan perubahan politik - ilmiah ke tingkat budaya. Seni, Galeri lokal, studio dan pekerja seni dan yang tidak biasa dari laut dan kehidupan Musik dan Pertunjukan adalah media kelompok aktivis merespon dengan baik laut. yang mampu menjangkau publik yang terhadap gagasan dan berkat dukungan Namun kemudian penduduk perkotaan lebih luas dan membuka kemungkinan- dana dari Kedutaan Besar Jerman untuk dan industri juga semakin banyak kemungkinan baru untuk berkomunikasi Indonesia, Kerjasama Pembangunan menghadapi dampak dari perubahan mengenai hal ini dengan masyarakat Jerman (GIZ) , Goethe-Institut iklim, yaitu meningkatnya suhu dan tanpa keahlian khusus pada topik. Indonesien dan organisasi bantuan polusi di daerah metropolitan dan Lokakarya dapat menjadi proyek konkrit Misereor, Climate Art Festival dapat melonjaknya persoalan pada pasokan sebagai langkah awal yang bisa berlanjut direalisasikan. energi. Oleh karena itu - di samping kemudian setelah festival dan keputusan politik – sangat dibutuhkannya memberikan contoh bagi orang lain Christina Schott © 2013 ide-ide praktis, bagaimana masyarakat dengan cara yang berkelanjutan. umum dapat menangani masalah ini Targetnya adalah untuk menunjukkan dengan kehidupan sehari-hari mereka bahwa bahkan masyarakat kecil secara dan menyesuaikan kebiasaan mereka. aktif dapat bertindak melawan Sementara pemisahan sampah, hemat perubahan iklim dan kerusakan energi dan pertanian organik sudah lingkungan : dengan menggunakan menjadi rutinitas umum di negara-negara energi alternatif, pengelolaan sampah barat, kebanyakan masyarakat Indonesia kolektif atau mendesain ulang ruang bahkan belum pernah mendengar publik. Mengenai pentingnya

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” The Climate Art Festival awareness the German government public. An all-women-group of German – an intercultural environmental art project – assumes this responsibility by supporting and Indonesian artists and cultural developing countries in their measure to workers, journalists and environmental Background protect the climate today. Also in its activists put the program piece by piece As biggest archipelago in the world, priority partnership with Indonesia together. Jogjakarta as Indonesia's most Indonesia is especially exposed to climate change is one of the core issues important cultural metropolis and biggest consequences of climate change. The in the German development student city in mid of a traditional rural Indonesian government has indeed cooperation, especially focusing on surrounding seemed to be predestined signed all important international “Nature and Climate Protection”, “City as location for this event. Local galleries, agreements on actions to fight the Traffic Emission Reduction” and “Forest studios and artist and activist groups climate change, but the associated and Climate Protection”. responded well to the idea and thanks measures have yet to reach most of the to the financial support of the German population. The country is classified as Objective Embassy to Indonesia, the German third biggest greenhouse gas producer in The Climate Art Festival wants to Development Cooperation (GIZ), the the world – primarily because of the transfer this German-Indonesian Goethe-Institut Indonesien and the aid rapid destruction of its rainforests. The cooperation from a political-scientific organisation Misereor, the Climate Art resulting changes of climatic conditions level to a cultural level. Art, Music and Festival could be realized. hardest hit the farmers who lose their Performance are media, which are able traditional livelihood or experience man- to reach a broader public and to open Christina Schott © 2013 made natural disasters, as well as new possibilities to communicate the fishermen who are confronted with subject with people without special unusual alterations of the sea and expertise on the topic. Workshops can maritime life. initiate concrete projects that could be Soon however, the urban population continued after the festival and give and industries will also more and more examples for others in a sustainable way. face the results of climate change, The target is to show that even small namely rising temperatures and pollution communities can actively act against in metropolitan areas and increasing climate change and environmental problems with energy supply. Therefore destruction: by using alternative – beside political decisions – there is a energies, collective waste management big need of practical ideas, how or the re-design of public spaces. common people can deal with these Regarding the necessary knowledge problems in their daily life and change transfer, intercultural understanding and their habits accordingly. While waste social networking play a crucial role in separation, energy saving and organic this matter. farming are already common routines in Germany, many Indonesian never heard Implementation of those topics. The idea for the Climate Art Festival As one of the richest industrial countries, emerged during some brainstorming on Germany bears a historical responsibility intercultural projects that could convey for global carbon emissions. In the the global need for action concerning course of the growing ecological environmental problems to a local

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Hutan Kita Berada di Titik 22 provinsi. Luasan area konik Ironisnya, perubahan ini tidak juga kayu, tanah, dan tumbuh-tumbuhan Nol mencapai 2.043.287 hektar atau lebih disadari dan disikapi secara serius oleh hendak mengingatkan kita akan nilai Oleh Ade Tanesia Pandjaitan dari 20 ribu kilometer persegi. masyarakat urban sebagai konsumen spiritual yang menyangga Penyumbang konik terbesar sektor utama beragam produk dari perusakan keberlangsungan alam semesta. Kearifan “459,21 hektar. Itulah luas tanah adat perkebunan dan kehutanan, hutan ini. Seakan-akan degradasi hutan lokal yang sebenarnya telah dimiliki kami yang kini telah berubah menjadi mengalahkan kasus pertanahan atau yang berlangsung tanpa henti di kebudayaan masyarakat adat nusantara perkebunan sawit.Dulu perusahaan hanya agraria non kawasan hutan dan non Kalimantan, Sumatera, Papua, dan lain- seharusnya menjadi tiang utama yang menggantinya dengan harga Rp. 175,000 kebun. Sektor perkebunan 119 kasus, lain tak ada hubungannya dengan mengajarkan manusia untuk tidak per hektar.Mereka menyebutnya kapak dengan luasan area mencapai 413.972 kehidupan kota. Sementara perjuangan mengeksploitasi alam dengan semena- lela. “Untung padagi (tempat yang hektar, sedang sektor kehutanan 72 masyarakat adat sebagai penjaga utama mena. Saya teringat, masyarakat Dayak dianggap keramat untuk pelaksanaan kasus, dengan luas area mencapai 1, 2 hutan tidak dipahami sebagai perjuangan Iban di Sungai Utik, Kalimantan Barat ritual adat sebelum berladang) tetap ada juta hektar lebih. Penelitian para ilmuwan bersama. Penangkapan, penembakan, memiliki aturan adat yang membatasi di antara kebun sawit itu,” ungkap dari Enviromental Defense Fund, World dan segala bentuk intimidasi ditanggung penebangan kayu di hutan perawan. Adrianus Adam Tekot, Timanggung Binua Resources Institute, University of sendiri oleh masyarakat yang berupaya Kayu hanya boleh diambil untuk Sui Manur, Kalimantan Barat. Maryland, Woods Hole Research mempertahankan hutan dan tanahnya. kebutuhan utama seperti pembuatan Center and the Packard Foundation, Alih-alih melahirkan kesejahteraan, rumah, kayu bakar untuk memasak.Bagi Kepedihan yang dirasakan Adrianus menyatakan bahwa Indonesia telah investasi perkebunan sawit, tambang, mereka hutan adalah darah yang Adam Tekot adalah juga kepedihan yang kehilangan 8,78 juta hektar hutan dan lebih banyak membawa tragedi bagi menghidupi masyarakatnya. dirasakan masyarakat di nusantara ini telah melepas karbon ke udara sebesar masyarakat lokal. ketika hutannya semakin menyusut dan 8.71 billion tons selama periode 2000 Karya perupa Arya Panjalu tak bisa lagi menjadi sumber kehidupan. sampai 2011 (Sumber: Pameran ini jelas berangkat dari membangkitkan kesadaran kita yang Mulai dari tahun 1990 hingga 2010, ttp://www.mongabay.co.id). Perkebunan kepedulian terhadap kondisi kritis hutan hidup di kota untuk memulai kepedulian nyaris seluruh perkebunan kelapa sawit Sawit yang sering disebut sebagai “emas dan masyarakat yang berada di terhadap hutan dari hidup keseharian. di Pulau Kalimantan memakan lahan hijau” tidak hanya melenyapkan sekitarnya. Hutan di Titik Nol, Sosok manusia dari papier-mache yang hutan. Tanaman sawit merupakan jenis keanekaragaman hayati hutan, tetapi juga memperlihatkan betapa hutan dan sedang duduk di seperangkat meja dan tanaman sangat “egois” yang tidak bisa menggilas kebudayaan masyarakat manusianya telah berada di titik nadir kursi yang terbuat dari kayu jati sambil hidup dengan tanaman lain. Artinya sekitar hutan. John Bamba, Direktur atau sekarat. Dan seniman seharusnya mencermati dedaunan yang seakan ketika sebuah perkebunan sawit dibuka, Institut Dayakologi mengungkapkan menjadi yang pertama untuk peduli tumbuh dari mebel itu merupakan maka seluruh keanekaragaman hayati bahwa tanpa tanah/hutan, maka terhadap kondisi ini. Sudah cukup lama simbol yang sarat akan pesan pentingnya hutan juga punah. Sawit juga memiliki kebudayaan Dayak tidak ada artinya. kita tidak lagi menemukan sebuah manusia kota turut menjaga alam. karakter rakus air, sehingga lingkungan di “Bahasa kami pun akan punah, karena pameran yang sekaligus menjadi ajang sekitar perkebunan akan mengalami seluruh perbendaharaan kata ada ekspresi pernyataan sikap seniman Karya fotograﬁ dari Dwi Setianto penyusutan air yang sangat dibutuhkan kaitannya dengan keanekaragaman hayati terhadap suatu persoalan. Sembilan menggambarkan sebuah bibit di tangan. masyarakat lokal. Dampak perluasan yang ditemui di hutan,” ungkapnya. seniman yang terlibat dalam pameran ini Hal ini mengingatkan kita bahwa bibit sawit tidak hanya berdampak pada adalah mereka yang dalam perjalanan lokal semakin punah, tergantikan oleh kerusakan ekologis, tetapi juga Dampak dari deforestasi ini tidak hanya berkeseniannya cukup konsisten bibit rekayasa yang lebih instan dan melahirkan konik di berbagai daerah. mempengaruhi masyarakat yang tinggal menggulati persoalan lingkungan dalam melahirkan ketergantungan. di sekitar hutan, tetapi juga dirasakan relasinya dengan kehidupan manusia. Berdasarkan data dari HuMa dalam oleh masyarakat kota. Semakin tidak Sarah Nuytemans memilih tema yang enam tahun terakhir konik agraria dan menentunya iklim, bencana yang datang Perupa Arahmaiani yang karyanya lebih reektif. Karyanya berjudul Sweet sumber daya alam (SDA) di Indonesia, tanpa henti, merupakan dampak nyata mengambil bentuk dasar Mandala Dreams are Made of This menyajikan menyebar di 98 kota dan kabupaten di yang bisa dirasakan seluruh masyarakat. Borobudur dengan bahan alami seperti suatu pengalaman melalui ruang gelap

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” yang diterangi patung lampu. Baginya kita Kelompok Seni Taring Padi menyajikan Forest At Zero Point (Our case of non-agrarian land or non-forest kini hidup dalam planet yang sedang sebuah karya cukil kayu berukuran besar Forests Falls to Zero) areas. Plantation sector recorded 119 dihancurkan dan akan kembali yang menggambarkan detil pohon hingga By Ade Tanesia Pandjaitan cases in the spacious area that reach to menghancurkan kita. Bahwa uang, keakar-akarnya. Persoalan mengenai 413 972 hectarescases. Forestry sector teknologi, atau beragam pencapaian pencaplokan tanah dan hutan oleh “459.21 acres! That is our customary land recorded 72 cases, with an area up to 1, dianggap lebih penting daripada korporasi di berbagai daerah di that has been turned into palm oil 2 million acres. The scholars studies of melestarikan alam. Manusia telah nusantara ini secara gamblang dihadirkan plantations.Previously, companies only pay Enviromental Defense Fund, World kehilangan sesuatu, yaitu dimensi dari oleh Setu Legi melalui karyanya berjudul Rp. 175,000 per hectare.They call it Resources Institute, University of dirinya yang terdalam dan kesadaran. “Jaga Tanah Ini.” Ia menggambarkan "kapaklela. “Untungpadagi (sacred place Maryland, Woods Hole Research Dalam karyanya Sarah mengajak kita manusia Indonesia dari berbagai etnis for the indigenous rituals before farming) Center and the Packard Foundation, untuk fokus pada inti diri dan berdiri di atas pohon-pohon yang telah still there, among the oil palm stated that Indonesia has lost 8.78 mereeksikannya, agar kita dapat ditebang. plantation,"Said Adrianus Adam TEkot, million hectares of forest and has been menemukan solusi bagi segala persoalan TimanggungBinua Sui Manur, West releasing carbon into the air amounted yang terjadi dan memiliki kemampuan Melalui karya-karya ini kita tidak sekadar Kalimantan. to 8.71 billion tons during the period untuk mempengaruhi lingkungan dengan memahami dan merasakan sensasi visual 2000 to 2011 (Source: ttp :/ / cara yang positif. “Sandiwara Alam” yang membawa kekuatan pesan-pesan Pain that perceived "Adrianus Adam www.mongabay.co.id). Palm plantations merupakan karya yang dihadirkan anna tentang hutan yang sedang sekarat. Kita Tekot"is people pain in this are often referred to as "green gold" not Peschke dan Natalie Sriemeyer pun dapat mempelajari perspektif dan Archipelagowhen a forest that belongs only eliminate forest biodiversity, but mengetengahkan sebuah perjalanan di sikap seniman dari latar belakang to them increasingly shrinksand can no also crush the culture of forest kawasan masyarakat Nitiprayan yang kebudayaan berbeda dalam memandang longer be a source of life. Since 1990 to communities.John Bamba, director of sedang berubah dari desa menjadi kota. kerusakan alam, dan hutan khususnya. 2010, almost all oil palm plantations in the Institute Dayakologi revealed that Melalui puisi, lagu, cerita personal, buku- Lebih dari sekadar menampilkan Borneo pouncesthe forest. Oil palm without land / forest, the Dayak culture buku ilmiah, instalasi, dikisahkan sederetan karya, pameran ini juga crops are type of very "selfish" plant who is meaningless. "Our language would be perubahan iklim, perlindungan terhadap membawa pesan kuat bahwa kondisi cannot live with other plants. It means, extinct, because the entire vocabulary is alam, produk sampah peradaban, dan kritis bumi kediaman manusia ini when an oil palm plantation planted, related to biodiversity found in the hak untuk memperoleh air bersih. merupakan tanggung jawab umat then the whole forest biodiversity forest," he said. manusia dari berbagai belahan dunia. extinction. Oil palm is a plant that Katia Engel menghadirkan site specific Bukan lagi hutan anda, hei orang requires a lot of water so that the The impact of deforestation is not only instalasi dan fotografi dalam balutan judul Indonesia, tapi Hutan Kita Berada di Titik environment around the plantation will affect the people who live around the Hujan Abu (Grey Rain). Karya ini Nol. be lack of water. The expansion Oil forest, but also to the the urban berangkat dari pengalamannya palm not only affects the ecological community. Increasingly uncertain mengalami erupsi Gunung Bromo- destruction, but also led to conict in climate, disasters come without Tengger-Semeru. Bagi Katia Engel, tanah many regions. stopping, a real impact can be perceived yang diselimuti abu mengingatkan dirinya throughout the community.Ironically, pada panorama salju. Tetapi According to data of "HuMa" in the last these changes are not well recognized pemandangan yang “indah” ini six years, agrarian conicts and natural and addressed seriously by the urban merupakan ironi mengingat seluruh resources conict in Indonesia spread community as the main consumers of pohon dan tanaman mati, kuatnya bau across 98 cities and regencies in 22 various products of the forest belarang, tidak adanya suara binatang, provinces. The extent of the conict destruction. Degradation unabated in merupakan impresi tentang tanah yang area reached 2,043,287 hectares. The Kalimantan, Sumatra, Papua, and others mati. largest contributor of conict are forestry apparently had nothing to do with city and plantations sectors, exceeded the life.While the struggle of indigenous

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” peoples as primary forest guards are not The work of Arya Panjalu raise climate change, protection of nature, understood as a common struggle. awareness of us who live in the city to waste products of civilization, and the Arrests, shootings, and any form of start a forest stewardship in everyday right to clean water. intimidation borne by the people who life. Human figures from papier-mache try to defend their land and forests. who was sitting at a set table and chairs Katia Engel presents site specific Instead of realize the welfare, made of teak wood with a look that installations and photography in title investment palm plantations, mines, seemed to grow from the leaves of the “Hujan Abu”(Grey Rain). This work bring more tragedy for the local furniture will be a symbol-laden comes from her experience to community. message, the importance of engaging experience the eruption of Mount urban preserve nature. Bromo-Tengger-Semeru. For Katia This exhibition obviously originated from Engel, ash-covered soil reminded her of a concern for the critical condition of the Photographic work of Dwi Setianto snow panorama. But the view of the forest and the people around him.Forest describe a seedling in hand. It reminds "beautiful" is a an irony since all the trees at Zero Point, shows how forests and us that local seed is getting extinct, and plants died, the stinging smell of of people have been at the nadir or dying. replaced by transgenic seeds are more sulfur, no animal sounds, an impression Artists should be the first to care for this instant and spawned dependence. of the land of the dead. condition. It has been long enough that we no longer find an exhibition that Sarah Nuytemans choose a theme that Art group "Fangs Padi" presents a work served as an expression of an artist is more reective. Her work entitled of large woodcuts that describes details statement on an issue. Nine artists "Sweet Dreams are Made of of the tree to the roots. The issue of involved in this exhibition are those who This"presents an experience through a annexation of land and forests by fairly consistent in his artistic journey dark room is illuminated by light corporations in various regions in this environmental issues in relation to sculpture. According to her, we now live Nusantara vividly presented by SetuLegi human life. in a planet that is being destroyed and through his work titled "Cover This will come back to destroy us. That Land. "He describes the Indonesian Arahmaiani whose work takes the basic money, technology, or a variety of people of various ethnicities standing on form of Borobudur's Mandala with achievement is considered more the trees that have been felled. natural materials such as wood, soil, and important than preserving nature. Through these works we do not just vegetation was about to remind us of Humans have lost something, the understand and feel the sensation that the spiritual values which support the deepest dimension of the self and brings the power of visual messages of survival of the universe. Local wisdom consciousness. the dying forest. We can learn the that has actually owned Nusantara In her work she invites us to focus on perspectives and attitudes of artists of indigenous culture should be the main the core self and reect on it, so that we different cultural backgrounds in looking pillar that teaches people not exploit the can find a solution for all the problems the destruction of nature, and forests nature haphazardly. I recall, Dayak Iban that occurred and have the ability to specifically. More than just showing a in the Utik River, West Kalimantan has affect the environment in a positive way. series of works, the exhibition also custom rules that restrict logging in the Anna Paschke and Natalie Sriemeyer brings a strong message that the critical forests.Wood should only be taken for work, "Nature Theatre", presents a condition the earth, human habitation, is the primary needs such as home- journey in the Nitiprayan society is being the responsibility of human beings from making, firewood for cooking.n their changed from a village into a city. different parts of the world. It's no lives, the forest is the blood that keeps Through poems, songs, personal stories, longer your forest, Hi Indonesian! but the community. scientific books, installations, narrated our Forests at Zero Point.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Art Work “Hutan di Titik Nol” | “Ground Zero Forest” Art Work “Hutan di Titik Nol” | “Ground Zero Forest” Arahmaiani Memory of Nature Instalation of Wood, soil, plants, plastic sheet Variable size 2013 Karyaku mengambil bentuk dasar My work refers to the basic form of Mandala Borobudur dan menggunakan Borobudur Mandala and using natural bahan-bahan alami seperti kayu, tanah materials such as wood, soil and dan tumbuhan. vegetation. Aku ingin mengangkat masalah alam dan I want to convey the nature and lingkungan hidup. Tapi aku tidak ingin environmental issues. But I do not want persoalan ini diangkat sebatas soal this issue raised on limited matter: such materi: seperti pelestarian hutan, air, as forest conservation, water, land and tanah, ataupun makanan organik yang healthy organic foods. These matters sehat. Yang mana seperti hanya berfokus just focused to materials aspect of mortal pada aspek materi dari kehidupan dan life in this planet and dwell on the side of planet ini. Dan berkutat pada sisi ilmu materialistic science.There should be the pengetahuan yang bersifat materialistis. values and ethics of life that support the Semestinya ada nilai-nilai dan etika harmony and respect for nature and the kehidupan yang menunjang keselarasan environment. Without a metaphysical maupun penghormatan pada alam science and the wisdom of life, the maupun lingkungan hidup. Sebab tanpa natural will simply stationed as an object ilmu pengetahuan yang bersifat metaﬁsik that may be exploited as they pleased. dan kebijaksanaan hidup, alam ini hanya akan ditempatkan sebagai objek yang boleh dieksploitasi sesuka manusia.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Arahmaiani Memory of Nature Instalation of Wood, soil, plants, plastic sheet Variable size 2013 Karyaku mengambil bentuk dasar My work refers to the basic form of Mandala Borobudur dan menggunakan Borobudur Mandala and using natural bahan-bahan alami seperti kayu, tanah materials such as wood, soil and dan tumbuhan. vegetation. Aku ingin mengangkat masalah alam dan I want to convey the nature and lingkungan hidup. Tapi aku tidak ingin environmental issues. But I do not want persoalan ini diangkat sebatas soal this issue raised on limited matter: such materi: seperti pelestarian hutan, air, as forest conservation, water, land and tanah, ataupun makanan organik yang healthy organic foods. These matters sehat. Yang mana seperti hanya berfokus just focused to materials aspect of mortal pada aspek materi dari kehidupan dan life in this planet and dwell on the side of planet ini. Dan berkutat pada sisi ilmu materialistic science.There should be the pengetahuan yang bersifat materialistis. values and ethics of life that support the Semestinya ada nilai-nilai dan etika harmony and respect for nature and the kehidupan yang menunjang keselarasan environment. Without a metaphysical maupun penghormatan pada alam science and the wisdom of life, the maupun lingkungan hidup. Sebab tanpa natural will simply stationed as an object ilmu pengetahuan yang bersifat metaﬁsik that may be exploited as they pleased. dan kebijaksanaan hidup, alam ini hanya akan ditempatkan sebagai objek yang boleh dieksploitasi sesuka manusia.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Arya Pandjalu Maybe it's not always about trying to ﬁx something broken, maybe it's about starting over and creating something better 192 x 89 x 120cm Papier-mache, water color plants, teak wood table and chair 2013

Karya yang menghadirkan sosok yang Work that presents the figure made of terbuat dari papier-mache ini dilengkapi papier-mache is equipped with a set of dengan satu set furniture ( benda sehari- daily object which composed of a dining hari ) berupa meja makan ( dengan table with leaves that grow on the dedaunan yg tumbuh diatas permukaan surface of etched lines that form a map torehan garis yg membentuk peta of Indonesia and its surrounding. There Indonesia dan sekitarnya ) serta sebuah is also a chair made of teak wood. This is kursi yang terbuat dari kayu jati ini, as well a statement and attitude that merupakan pernyataan sekaligus sikap reected on the work's titleformation of yang tercermin dari relasi judul yang mutual support to the figures in this saling dukung dengan formasi figur dalam installation. instalasi ini. Sit and watch while planting green leaves Duduk sambil menanam dan that grow from the surface of the table, mencermati hijaunya dedaunan yang is the analogy of a home work or our tumbuh dari permukaan meja, efforts to be done to achieve what we merupakan analogi sebuah pekerjaan expect. rumah atau jerih payah kita yang harus dikerjakan /diselesaikan untuk mencapai Sometimes continuing a pattern ideal apa yang kita harapkan. environment must start from scratch, from ourselves, from the smallest things, Terkadang melanjutkan sesuatu pola from logical the simple things that we lingkungan yang ideal, harus memulainya can do to support the creation of a dari nol, dari diri sendiri, dari hal terkecil, larger thing that we desire. dari hal sederhana yang logis bisa kita kerjakan untuk mendukung terciptanya hal yang lebih besar yg kita idamkan.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Dwi Setianto Hutan di Belakang Rumah Video 2013

Tumbuhan adalah penguasa alam dibumi Plants are the rulers of the earth, ini, manusia dan binatang sangat humans and animals are very dependent bergantung kepada tumbuhan. on plants. Human intervention to take Campurtangan manusia dengan away the rights of plants is very mengambil hak-hak tumbuhan sudah excessive impact damage: damage to the sangat berlebihan yang berdampak ecosystem. Also the cause of natural kerusakan, kerusakan ekosistem. Juga disasters. penyebab bencana alam. Through the work of this video I hope Di karya video ini saya berharap bisa to be an inspiration for the people of the dijadikan inspirasi bagi masyarakat kota city can participate to care, managing, bisa berpartisipasi untuk merawat, maintaining the balance of urban green menata, menjaga keseimbangan ruang- spaces and in the neighborhood ruang hijau diperkotaan dan dilingkungan sekitar tempat kita tinggal. (material images taken from parks, urban forests, cemeteries and (material gambar diambil dari taman, objects at home). hutan kota, kuburan dan dirumah).

Helsinki 12.7.2013 Helsinki 12.7.2013 Dwi Setianto DwiSetianto

Untuk karya video, silahkan berkunjung: | For video please visit: www.vimeo.com/74865492

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Dwi Setianto Hutan di Belakang Rumah Video 2013

Helsinki 12.7.2013 Helsinki 12.7.2013 Dwi Setianto DwiSetianto

Untuk karya video, silahkan berkunjung: | For video please visit: www.vimeo.com/74865492

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Katia Engel Hujan Abu - Grey Rain 20 x 30 and 30 x 40 cm (ini adalah tiga dari lima rangkaian cetak skala kecil) Instalasi Penempatan Khusus, Fotograﬁ 2011

Hujan Abu – Sebuah karya dari tempat tertentu kawat, seperti terlihat dalam foto, dapat Dalam waktu dua minggu pada bulan memberikan ilusi yang seolah-olah Juni 2011, selama letusan besar Gunung menjadi garis telah dicat kemudian citra Bromo, saya berada di Taman Nasional digital, dan dampak dari tindakan ini, Bromo-Tengger-Semeru di Jawa-Timur. menghasilkan bagian-bagian yang tersapu Pemandangan yang dikelilingi Gunung dari sebuah lanskap. Bromo, berubah setiap hari dengan letusan terus-menerus: setiap letusan Lantas saya mendapati aspek yang menciptakan lapisan dan bentuk baru menarik: kita tidak serta-merta percaya, serta warna hujanabu. bahwa garis putih ini sebenarnya sudah terpasang di lanskap yang melewati Sebuah tanah yang dilingkupi abu, pandangan yang sureal. Dan, ketika mengingatkan saya pada pendangan dipotret, garis putih itu adalah bagian bersalku.Tapi saya merasa bahwa ada pandangan tersebut. nyata dan, untuk yang khas yang membuatnya berbeda: saat difoto, bagian dari itu.Tentu, garis oleh pepohonan dan tanaman mati, bau tersebut tidak di sana, tapi ketidakadaan belerang yang menyengat, tanpa hewan itu adalah bagian dari pemandangan dan tanpa suara, kesan tanah yang mati tersebut, meskipun hanya dalam waktu sangat pasti. yang sekejap.

Saya memutuskan untuk bekerja dengan kawat putih, seolah menandai alam dengan garis. Saya mencari jejak, sisa-sisa dan kenangan dari kala, sebelum debu menutupi tanah ini.Yang terlihat oleh saya sebuah tanggapan atas pemandangan tentang kekuatan yang mematikan, pemandangan yang dilanda oleh kekuatan besar Gunung Bromo.

Dalam proses bekerja pada proyek ini, saya menyadari bahwa warna putih

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Katia Engel Hujan Abu - Grey Rain 20 x 30 and 30 x 40 cm (it is a series of small scale prints 3 of 5 serries) Site Speciﬁc Installation, Photography 2011

Hujan Abu–A site speciﬁc work

Within a period of two weeks in June been painted afterwards into the digital 2011, I have been at National Park image, and as a result of this action, Bromo-Tengger-Semeru in East Java, erased parts of the landscape. Indonesia, during major eruptions of Mount Bromo. The landscape, I found that an interesting aspect: we do surrounded by Mount Bromo, changed not quiet believe, that this white line every day with its continuous eruptions: actually had been installed in this surreal each eruption brought new layers, landscape and was, for the time being shapes and colors of hujanabu (from photographed, part of it. Certainly, this Indonesian = grey rain). line does not belong there, but it does respond to something and it had been A land under ash – it reminded me on a part of this landscape – even just for a landscape in snow. But I felt, that there short period of time. was something distinctively different: with all trees and plants dead, the strong smell of sulfur, no animals and no sounds, the impression of a dead land seemed more deﬁnite.

I decided to work with white wire, as if marking the nature through drawing lines. I was searching for traces, remains and memories from the time, before the dust covered this land. That seemed to me an appropriate response to this morbid landscape, which was struck by the immense power of Mount Bromo.

In the process of working on the project, I realized that the white color of the wire, as seen on the photography, can give the illusion, as if the lines have

Hujan Abu–A site speciﬁc work

In the process of working on the project, I realized that the white color of the wire, as seen on the photography, can give the illusion, as if the lines have

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Art Exhibition | ”Ground Zero Forest” Sara Nuytemens Sweet Dreams are made of This 3.66 x 3.66 x 3 m Kinetic Light Sculpture 2013

Sebuah ruang gelap dengan patung dalam hidup kita, suatu keadaan yang lampu berputar dipendari oleh cahaya menekankan penyatuan dengan seluruh berkelip, mempengaruhi ketinggian alam semesta, keadaan yang dapat alami. Lihatlah dengan mata terpejam. memotivasi kita untuk membangkitkan Bila Anda menderita gangguan epilepsi, kesederhanaan dalam hidup dan diharap tidak masuk. mendorong kita untuk membangun gaya hidup non-materialistis, suatu keadaan Sekarang, kita hidup di dunia ketika kita yang memberi kita alasan untuk tidak berjarak dengan penghancuran menjalankan cara hidup yang ramah planet, melakukannya berulang kali, lingkungan. sembari membasmi diri sendiri. Pencapaian keuangan, teknologi, sosial Seni instalasi ini terinspirasi oleh atau prestasi-prestasi lain lebih penting 'Dreamachine', yang diciptakan awal ketimbang upaya 'konservasi' alam. Kita 1960-an oleh matematikawan Ian jelas kehilangan sesuatu, suatu ruang Sommerville dan Brion Gysin seorang yang menurut pendapat saya adalah seniman dari Paris, yang juga merupakan tempat dimensi batin dan kesadaran. sumber inspirasi bagi seniman lain dari Apabila kita dapat fokus pada kedalaman 'Generasi Beat' yang merayakan batin dan merenungkannya, barangkali ketidaksesuaian dan kreativitas spontan. kita akan menemukan beberapa solusi terhadap kejadian di luar kita dan akan Karya Sara Nuytemans' didasarkan pada mampu mempengaruhi lingkungan kita pengamatan tentang upaya dan keadaan dengan cara yang positif. manusia berinteraksi dengan dunia. Perihal yang menyenangkan baginya 'Sweet Dreams are made of This' adalah adalah kecapakan benda-benda yang pengalaman mengenai ruang dengan membuat kita terkesan. Hal yang selalu Sketsa karya efek stroboskopik dan suara di menjadi perhatiannya adalah unsur kedalaman yang merangsang aktivitas ganda dalam pikiran kita menghadirkan gelombang alfa di otak– keadaan pikiran dilema kejiwaan dan konseptual. yang berkaitan dengan mimpi, meditasi, Mengapa kita di sini? Apa peran kita relaksasi dan istirahat yang biasanya sebagai manusia? Ini adalah pertanyaan- menghadirkan keselarasan dengan pertanyaan mendasar yang menjadi lingkungan kita. Ini merupakan keadaan bagian kajian Sara Nuytemans. yang membawa kasih sayang dan cinta

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Sara Nuytemens Sweet Dreams are made of This 3.66 x 3.66 x 3 m Kinetic Light Sculpture 2013

A dark space with a rotating lamp into our lives, a state that stresses the sculpture that by its ickering light, interconnectedness of the entire induces a natural high. To be viewed universe, a state that can motivate us to with the eyes closed. invite simplicity into our lives and If you are epileptic, or have a tendency encourages us to pursue non- to epilepsy, don't go inside. materialistic lifestyles, a state that give us every reason to practice environmentally Today, we live in a world where we are friendly ways of life. not so far from destroying the planet beyond return and, in doing so, This installation is inspired by the exterminating ourselves. Financial, 'Dreamachine', a creation of the early technological, social or whatever kind of 1960's by the mathematician Ian achievement is more important than the Sommerville and the Parisian artist Brion 'conservation' of nature. We are clearly Gysin, that also was a source of missing out on something, somewhere, inspiration for artists of the Beat and, in my opinion, that something is the Generation, who celebrated non- dimension of our inner self and conformity and spontaneous creativity. consciousness. If we are able to focus on our inner self and reect about it, we might ﬁnd some solutions to what Sara Nuytemans' work is based on the happens outside us and will be capable observation on how human beings of inuencing our environment in a interact with the world. Surprising to her positive way. is the capacity of things to impress us. It always has interested her, how our ‘Sweet Dreams are made of This' is a duality intrinsic of the mind represents spacial experience with stroboscopic physical or conceptual dilemmas. Why

Sketch work effect and entraining sounds that induces are we here? What is our role as human alpha wave activity in the brain – a state beings? These fundamental questions are of mind which is associated with part of Nuytemans' research. dreaming, relaxation and meditative rest which typically invites a greater feeling of harmony with our surroundings. It is a state that bring out compassion and love

Sebuah iklim melewati Nitiprayan A climate walk through Nitiprayan

Perubahan iklim tidak berhenti pada Changes in climate do not stop at perbatasan nasional. Perubahan yang national borders. The necessary changes diperlukan dari gaya hidup kita yang to our lifestyle aimed at constant growth secara konstan bertujuan untuk of wealth may only be achieved by mengembangkan kekayaan hanya dapat mutual cross-border dialogues. dicapai dengan dialog lintas-batas The Indonesian artist Arahmaiani and the bersama. German artists Natalie Driemeyer and Anna Peschke exchanged their views Seniman Indonesia, Arahmaiani dan and researched jointly about: the Seniman Jerman Natalie Driemeyer dan ecological, social and political conditions Anna Peschke bertukar cara pandang of their countries, already occurring mereka dan melakukan riset bersama- changes and art as a possibility of actively sama tentang:, kondisi sosial dan politik exerting inuence. ekologi negara mereka masing-masing, perubahan telah terjadi dan seni The result is a one-hour-walk which mungkin menjadi pemicu pengaruh aktif. leads the audience through the Nitiprayan community, along dusty Hasilnya adalah mengajak penonton streets, common grassland, ruins of untuk berjalan selama satu jam melewati dwellings and rice ﬁelds. komunitas kampung Nitiprayan, melalui Installations, scientiﬁc lectures, poems, jalan-jalan berdebu, rumputliar, songs and personal stories tell about reruntuhan tempat tingga ldan sawah. climate changes, environmental Instalasi, percakapan ilmiah, puisi, lagu protection, the waste products of dan cerita pribadi menceritakan tentang civilisation and the right to drinking perubahan iklim, perlindungan water. lingkungan, produk limbah peradaban dan hak atas air minum. Join us on a journey to lived experiences and indigenous knowledge, which Bergabunglah dengan kami untuk carries the potential for global change. merasakan secara langsung sebuah perjalanan dan pengetahuan masyarakat setempat, yang membawa potensi untuk perubahan global.

Terima kasih untuk rekan kami Ong Hari Wahyu Thanks to our partner Ong Hari Wahyu

Sebuah iklim melewati Nitiprayan A climate walk through Nitiprayan

Terima kasih untuk rekan kami Ong Hari Wahyu Thanks to our partner Ong Hari Wahyu

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Setu Legi Jaga Tanah Ini 200 x 300 cm Silk Screen printing, Wood Cut Print, Acrilyc on canvas 2013

Kebutuhan hidup manusia modern telah The need of modern human life has terkooptasi sebuah peradaban besar been co-opted of a great civilization that yang „mereka“ ciptakan sendiri, yaitu: "they" create themselves, namely: industri. Tentunya bukan hal yang industry. Surely the "modern" is not a sederhana dalam pengertian mencipta. simple thing in terms of creation.This is Ini tidak sama seperti beranak pinak, not the same as breed, huddled bergerombol untuk saling bergantung, together for mutually dependent, berkoloni untuk membangun sekaligus colonize to build and destroy. Diversity menghancurkan. Keberagaman telah has been slaughtered on the value of terbantai atas nilai produksi dan production and consumption which was konsumsi yang dibebankan pada kwalitas charged to quality of life over the hidup yang selama berabad-abad centuries stringing abomination. Life is merangkai kekejian. Kehidupan kini now the heir to the remembrance of merupakan pewaris ingatan akan our helplessness in maintaining ketidakberdayaan kita dalam menjaga independence, greatness of soul and kemandirian, kebesaran jiwa, keteguhan constancy of culture. Expectations of budaya, harapan generasi baru new generation buried by the colonized tertimbun mental inlander. Pohon- mental. The huge trees had been pohon besar itu telah tumbang, akar- uprooted, the roots begin to dry up, akarnya mulai mengering, burung bird lost nests, and civilization was no kehilangan sarang, peradaban sudah longer able to support independence. tidak mampu lagi menghidupi Religion has failed to deliver virtue. kemerdekaan. Agama telah gagal mengantarkan kebajikan.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Taring Padi Nothing is Simple 2 Panels of 100 x 242 cm Woodcut Print on Fabric 2013

Tidak sederhana berawal dari "Nothing is Simple" came from penyederhanaan sebuah ungkapan simplifying a simple expression that bahwa sesuatu yang sederhana bisa something can be derived from berasal dari sesuatu yang rumit, dan something as complex, and something sesuatu yang rumit bisa juga berawal dari that complicated could be originated sesuatu yang sederhana. from something as simple. When this expression is associated to ecological Ketika ungkapan ini di hubungkan dengan problems or more accurately forestry masalah ekologi atau lebih tepatnya issues, cues that we perceive is not a masalah kehutanan, sinyal yang kita simple matter but full of interlocking tangkap ini bukan masalah sederhana problem sand strung become forestry melainkan penuh permasalahan yang issues facing us today. Many facets must saling terikat jalin menjalin menjadi be studied to be discussed as a whole, masalah kehutanan kita sekarang ini. so that we can understand the different perspectives and comprehensive Banyak sisi yang harus dibedah dan settlement to the problems of our didiskusikan secara utuh guna forests. Things that still remaining and memahami berbagai sudut pandang dan we still have and the things we have penyelesaian yang menyeluruh terhadap destroyed from our forest, it seems permasalahan hutan kita. Seperti apa simple but complex. Simple subject is yang masih tersisa kita miliki dan apa when a text or discourse is a work of art yang telah kita musnahkan terhadap environmentally the med. The work hutan kita, sepertinya sederhana namun looks simple but behind it the process kompleks, yang sederhana adalah ketika and idea that created is not simple, but teks atau wacana itu menjadi sesosok the important thing for us is how we try karya seni rupa dengan tema lingkungan, to learn and share our concern for the terlihat sederhana meski dibalik itu forestry complex problems in our proses dan gagasan yang diciptakan tidak capacity as an artist. sederhana, namun yang penting bagi kami adalah bagaimana kami berusaha belajar dan berbagi tentang kepedulian terhadap ketidaksederhanaan masalah kehutanan kita dalam kapasitas kami sebagai perupa.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” ARAHMAIANI “I Love You” Ana Tzarev Gallery, New York “My Gandmother's House” Bochum Museum, Germany Born in Bandung, Indonesia, 1961 “Contemporaneity” MOCA Shanghai, China 2011 - “Edge of Elsewhere” Gallery 4A Sydney Festival, Australia EDUCATION “Crossing Point” Singapore Art Museum “Negotiating Home, History & Nation” Singapore Art Museum 1979-1983 - Bachelor of Fine Art in Bandung Institute of Technology, “I Love You” Richmond Center for the Art, Michigan Department of Art, Bandung, Indonesia. 2012 - “Lost in China” Galley 4A, Sydney 1983-1985 - Paddington Art School, Sydney, Australia. “Woman in Between” Fukuoka Asian Art Museum, Japan 1991-1992 - Academie voor Beeldende Kunst, Enschede, The Netherlands. 2013 - “Woman in Between” Okinawa Prefecture Art Museum, Tochigi Prefecture Art Museum of Fine Arts, Mie Prefectural Art Museum, SOLO EXHIBITIONS Japan

1994 - “Sex, Religion & Coca-cola” Oncor Studio, Jakarta 1999 - “Rape & Rob” Millenium Gallery, Jakarta 1999 - “Dayang Sumbi : Refuses Status Quo” CCF, Bandung 2005 - “Lecture on Painting” Vallentine Willy Gallery, Kuala Lumpur 2006 - “Stitching the Wound” Jim Thompson Gallery, Bangkok 2008 - “Slow Down Bro” Jogya National Museum, Jogyakarta 2009 - “I Love You (After Joseph Beuys Social Sculpture) Esplanade, Singapore 2013 - “The Grey Paintings” Equator Art Project, Singapore

GROUP EXHIBITIONS

1996 - “Nation for Sale” Asia Paciﬁc Trienalle, Brisbane 1997 - “Sacred Coke – Cosmology of Mutilation” VI Havana Biennale, Cuba 1998 - “Cities on the Move” Museum of Contemporary Art Vienna Secession, Musee Art Contemporaine de Bordeaux.PS I New York 2000 - “Corporeal Apology” Biennale de Lyon 2002 - Sao Paulo Biennale, Brazil Gwangju Biennale, Korea 2003 - Venice Biennale, Italy 10th Biennale of Moving Image. Jeneva 2007 - “Global Feminism” Brooklyn Museum, NY 2008 - “Die Wahren Orte” Alexander Ochs Gallery, Berlin 2009 - “ I Don't Want to be a Part of Your Legend” Oberhausen Short Film Festival, Germany 2010 - “Edge of Elsewhere” Sydney Festival 2010

GROUP EXHIBITIONS

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” ARYA PANDJALU - Ekspansi, Pameran Besar Patung Kontemporari Indonesia, Galeri Nasional, Jakarta. Born : July 26 1976 in Bandung, West Java, Indonesia. - ArtJog #10, Taman Budaya Yogyakarta. Education : 1995-2000 Print Making Department at the Indonesia Institute of - My Garden, The One Minutes Foundation; deBuren Brussel, Central Museum the Art, Yogyakarta, Indonesia. Utrecht, Kunsthal KadE Amersfoort, Marres Maastricht, NIMk Amsterdam. Live and works in Yogyakarta, Indonesia. - City One Minutes, The One Minutes Foundation; Guangdong Guagzhou, China. AryaPandjalu (b. 1976, Indonesia) studied print making at the Indonesia Institute of the Arts, - Pufrok; Theater Zeebelt, Den Haag (NL) Yogyakarta, graduating in 2005. His work focuses on social and personal story telling through 2010 - ID-Contemporary Art Indonesia, Kunstraum, Berlin. installation, print making, painting, sculpture and performance. He used to play with different - Cut 2010, New Photography from South east Asia, Parallel Universe, Kuala medium to transfer and transform his ideas. But lately his focus is on working with paper Lumpur, Singapore, Yogyakarta, Manila. because it is a simple and unique medium which can be found in many traditions and is above - Indonesian Art Now, Strategies of Being, Art Jogja,Yogyakarta all environment friendly. For him working with paper is like going back to childhood which - Emerging Wave, ASEAN – Korea, photo Exhibition, Korea. inspires him to making art works. - SPACE and IMAGE, Ciputra World Marketing Gallery. He has participated in the Sama-Sama Mural Project 2003 in San Francisco, Landing Soon - Art for AIDS, Bentara Budaya Jakarta, Indonesia. Residency programme at Cemeti Art House in Yogyakarta in 2006, and in 2010 a residency 2009 - CROSS/PIECE, 8th Gallery Canna, Jakarta. at Kosmopolis in The Netherlands. - Andergrond, The Hague, The Netherlands - Exposigns, 25th ISI Yogyakarta, Jogja Expo Center SOLO EXHIBITIONS - Deer Andry, MES 56, Yogyakarta. - Jogja Art Fair #2, Spacing Contemporary, TBY Yogyakarta. 2013 - Garden Of Delight, Biasa Art Space, Jakarta - Blue Print for Jogja, Tembi Contemporary, Yogyakarta 2012 - Soundgarden, ARK Galerie, Jakarta. - Kunduran Truk, Kersan Art Space, Yogyakarta. 2009 - “Phone Number My Hand”, O House Gallery, Jakarta. 2008 - Open Daily, Biasa Art Space, Seminyak, Bali. 2008 - “Lost, Andergrond”, Den Haag, The Netherlands - In Transition, Neme, National Centre of Contemporary Art, Moscow, Russia. 2004 - ChiChitChuit, Parkir Space, Yogyakarta -In Trantition, Neme, Museum of Fine Arts, Ekaterinburg, Russia. - Landing Soon, Erasmushuis, Jakarta SELECTED GROUP EXHIBITIONS - Red District Project, Koong Gallery, Jakarta. - Utopia Negativa, Langgeng Gallery, Magelang. 2013 - Steak Daging Kacang Ijo, Museum Dan Tanah Liat. - Jawa Baru, Srisasanti Gallery, Yogyakarta. 2012 - Art-JOG 2012, Taman Budaya Yogyakarta, Indonesia. - Interface, Open Space Gallery, Vienna, Austria. - Jogja Agro Pop, Taman Budaya Yogyakarta, Indonesia 2007 - Jogja Biennale, Yogyakarta. - Art Dubai, 2012 - Kuota, Gallery Nasional, Jakarta. - Kembar Mayang, Museum Widayat, Magelang - Interface, Interbiennale, Gallery HIT, Bratislava, Slovakia. - Re-Claim, Gallery Nasional, Jakarta - Bird Prayers, with Sara Nuytemans, Sika Gallery, Ubud, Bali. 2011 - Biennale Jogja XI – Equator #1 - SISA, UTS Gallery, Sidney, Australia - Beyond the East, Macro Museum, Roma - Fetish, Object art project #1, Biasa Artspace, Kuta, Bali - Kompas Short Story Illustration, Bentara Budaya Jakarta. - In Trans Out, Via-Via Cafe, Yogjakarta - Beastly 2011, Cemeti Art House, Yogyakarta. - Tickle the Power, Erasmus Huis, Jakarta.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” - 'Landing Soon #1, Cemeti Art House, Yogyakarta - Festival Kesenian Yogyakarta - 'Landing Soon #1, Artoteek, DenHaag, The Netherlands. 1998 - PosCard Exhibition, NGO-KOKO, Tokyo, Japan 2006 - 'Sedulur Gempa', GoetheHaus, Jakarta - Drawing Exhibition (Pameran Drawing), Kedai Kebun, Yogyakarta - 'Drawing from the stockrooms', Biasa Arts Space - Graphic Art Exhibition Dialog Dua Kota, Yogyakarta - DRAW, drawing, Museum dan Tanah Liat, Yogya. - Public Art, Hari Pahlawan, Yogyakarta - Workshop Ukiyo-e, Kedai Kebun Forum, Yogya. - Semangat Hidup, Yogyakarta - GANG Festival, New Indonesian visual Art and Single Channel Video, at - Festival Kesenian Yogyakarta X Firstdraft Gallery, Sydney, Australia. - Imagi, Graphic Art Exhibition, Bentara Budaya, Yogyakarta 2005 - Re-Publik Art Project, Yogyakarta - “Calon Arang“ Group Exhibition, Bilik Marsinah, Yogyakarta RESIDENCIES - 3in1, Cemara6 Gallery, Jakarta - Makan Seni Rupa, rumah Michell Chin, Yogyakarta 2012 - Bamboo Curtain Studio, Taipei, Taiwan - Omong Kosong, Cemety Art House, Yogyakarta 2010 - Kunstraum Kreuzberg/Bethanien, Berlin, Germany. 2004 - Ruang Per Ruang #2 - KOSMOPOLIS, The Hague, The Netherlands. - 3 Annual Mini Print, Lasendra, Bulgaria 2007 - Andergrond, The Hague, The Netherlands. 2003 - Exploring Medium, Graphic art Exhibition, Bentara Budaya, Jakarta - Sika Gallery, Ubud, Bali -Fusion Strange, Yogyakarta-Singapore Performan Project Benda Gallery, Yogyakarta 2006 - - “Sama Sama”, An International Contemporary Art and Cultural Exchange 2007 - 'Landing Soon #1', Cemeti Art House (program in collaboration with Artoteek between Indonesian (Apotik Komik) and San Francisco (Clarion Alley Mural (Heden) Den Haag, Yogyakarta Project), Intersection For the Art, SanFrancisco, Street Art Festival at 509 gallery, 2003 - CAMP ( Clarion Alley Mural Project ) and Apotik Komik, San Francisco, USA. San Francisco 2002 - Mind Print, Lembaga Indonesia Francis, Yogyakarta AWARD - winner Spilzman Award 2010 . - Struggle& Creation, Erasmus Huis, Jakarta - Performance Project, Fusion Strange, Indonesia-Singapore - SamaSama, City Mural, Yogyakarta - Liechtenstein – Yogyakarta Art Exhibition , Sosietet Militer, - Serangan Fajar, Graphic Art Exhibition, Benteng Vredeburgh, - RuangPer Ruang #1, Don't Try This at Home, Soboman Yogyakarta - Alfa Omega Alfa, Gallery AIR - Collective Exhibition Taring Padi, 24 Art, Northern Territory Centre for Contemporary Art, Darwin, Australia 2001 - Palu Art Forum, Palu, Sulawesi - Haram Jadah,Sanggar Olah Seni, Bandung - Budaya Demokrasi Kerakyatan, Gampingan, Yogyakarta 2000 - Festival Memedi Sawah, Delanggu - Public Art Project, Ruang Rupa, Ciliwung, Jakarta 1999 - Peduli Petani Organik, Yogyakarta

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” DWI SETIANTO 2002 - ”CHAOS” European Union Migrant Artist Network Gallery, Helsinki Born in Malang 1971 2003 - “CHAOS” Lönnströmin Taidemuseo, Pihatalon Studio, Rauma Live in Finland since 1996 2007 - ”Maisemia”, (landscapes). TM Galleria Helsinki.(galeri serikat pelukis Finlang) Email. [email protected] 2009 - Studi Kota, Kedai Kebun Forum, Yogyakarta, Indonesia 2012 - "Tumbuh", di gedung perfomance center Helsinki. EDUCATION 1991-1996 - ISI (Institut Seni Indonesia) Yogjakarta. PERFORMANCE 1998-2000 - Institut Seni Lahti. 1997 - 1998 - Several times produced art performance in groups and solo. Among these GROUP EXHIBITIONS 1997 "Sacriﬁce”, a performance in PORI Art Museum 1991 - “Kelompok `91” di Galleri Ganesha, Yogyakarta 2002 - Collaborated with Sandor Vályn (Hungary) at Hungary Culture Center, 1993 - Studio Gedung Gajah, Solo Helsinki, Finland. 1995 - Kelompok “aburgim” Purna Budaya, Yogjakarta. 2003 - Birth of Art, kolaburasi dengan Sandor Vályn di Lönnstöm artmuseum, 1996 - Mobile Exhibition Indonesian Art Foundation; Kompetisi Internasional Rauma, Finland “Philip Moris”, di Jakarta, Bandung, Yogja, Surabaya, Bali. 2007 - Performance and workshop with Tero Nauha, Carolina and other artists on 1997 - samaa maata- samma land side by side, PORI Art Museum “FERTILISM”. Helsinki. 1998 - Square ten booklet project, A`sa place art Contemporain, Roquebrun 2007 - ROCKET with KUKKIA (Tero Nauha dan Carolina ). Finland Perancis. 2007 - TURDUS MEDULA with KUKKIA. Helsinki 1998 - European Union Migrant Artist Network, Centre of Culture Turku. 1999 - European Union Migrant Artist Network, Shambala Gallery Copenhagen GRANT Denmark. 1999 - Niilo Helander Foundation 1999 - Meeting of Cultures, kaapelitehdas Helsinki. 1999 - Lahden kaupungin nuoriso-ja kulttuuritoimisto 2000 - HÄH !, Lahti. 1999 - Lahden ammattikorkeakoulustipendirahasto 2000 - ”Dream Land” hämegaleri, Lahti 2001 - VISEK, visuaalisentaitteenedistämiskeskus 2001 - Miniprint Finland (trieneal graﬁs mini), Lahti. 2006 - Grant from Helsinki 2002 - AUTUMN SALON, Paszkowka Palace, Cracow, Poland. 2009 - Arts Council of Finland 2005 - ALATBANTU, Purna Budaya Yogjakarta, Indonesia 2006 - Koti (home), rajanylityksiä (crossing the borders) Traveling exhibition of AWARDS contemporary art from Asia in several cities organized by the Finnish foreign 1999 - Award for 2nd Nominee of “Lahden Satama Aukion” Sculpture Design. ministry Finland. 2006 - “Kaupunki Kuva 24h”(24 hours City Picures), Finalist of Photography MEMBERSHIP Competition.Helsinki Taidemaalariliito (Finland Artist Alliance) 2007 - FERTILISM, Rantakasarmi Gallery, Helsinki 2009 - PICNIK , HUUTO Gallery Helsinki, Finland. OTHER ACTIVITIES - Hold Indonesian Contemporary Visual Art Exhibition. Works with MUURY at JANGVA SOLO EXHIBITIONS Gallery. 1997 - “Kanan Paska”, Vallila Library, Helsinki. - Work in Public Cemetery every Summer 1998 - Exhibition NO 2 - “Flow Thought” Caisa Culture Center, Helsinki. - Dukun Rajah 1998 - Exhibition N0 3 - “Of the Dark” Piano Room, Engel Café, Helsinki. 1999 Pää (Head), Graphic Art Exhibition at Turku Culture Center. 1999 - My Journey I, Kedai Kebun Gallery, Yogjakarta. 1999 - My Journey II, MUU Gallery Helsinki. 2001 - Exotic Line, Art Museum Varkaus.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” KATIA ENGEL 2005 - 'Der Zweier', Solo Performance, Dance Festival DUMBO,New York 1970, lives and works in Berlin and Indonesia 2004 - 'Bamboo', Solo Performance, Dance Festival DUMBO, New York www.katiaengel.com 2003 - 'Bird', 'Song of Sorrow', Solo Performance, 'Chashama Theater', New York und Galapagos Art Space, New York EDUCATION 2000- FILM SCREENINGS 2001 - Laban-Bartenieff-Institute of Movement Studies New York, CMA (graduated 2008 - Intl. Dance Film Festival Tokio/Yokohama (Japan) as Certified Movement Analyst) 2007 - Dance Festival (Manila/Philippines) 1997- 2006 - Official Selection Singapore International Film Festival (Singapore) 1999 - Dance InstituteImpuls Bremen/Germany (graduated as Certified Dance 2005 - 1. Asian Dance Film Festival (Jakarta/Indonesia) Teacher) 2005 - MOV - Digital Film Festival (Manila/Philippines) 1989- 2005 - Official Selection Singapore International Film Festival (Singapore) 1993 - University Bamberg, Social work, graduated with Diploma 2005 - Official Selection Bangkok Fringe Fest (Bangkok/Thailand) 2005 - Special screening on UtanKayu – National Gallery (Jakarta/Indonesia)

Selected Professional Work:

SOLO EXHIBITIONS 2013 - 'Of Nature, Human Nature and Nature's Human', Gaya Art Space Bali, Indonesia 2011 - 'Bumi Memahat Waktu', Ark Gallery Jakarta 2010 - 'Tanah Air – origin and alienation', Goethe Institute Jakarta 2010 - 'Holes, Cracks, Paper, Earth”, Artspace Two Trees Company, DUMBO New York 2007 - 'Dance without moving', Goethe InstituteJakarta

GROUP EXHIBITIONS 2012 - 'Orte', NeuesKunstforum Cologne, Germany 2012 - 'MulurMunkret', RumahSeniCemeti Yogyakarta, Indonesia 2010 - 'Curraintd'ajer' Art Center NAIRS, Switzerland 2008 - 'Intimacy and Alienation”, Museo de Arte El Salvador, San Salvador

STAGE WORKS 2013 - 'in between' as artistic director, Jakarta Anniversary Festival 2012 - 'Tanah air', as artistic director, Intl. Dance Festival Jakarta, Indonesia 2009 - 'Batumelingkarapi', as artistic director, commissioned by Asian Film Festival Berlin, Babylon Berlin/Mitte 2009 - 'From distant times and places', stage work in collaboration with Julia Kleinknecht, 100 Grad Festival, Hebbel-am-Ufer Theater Berlin 2008 - 'Blicke', site-speciﬁc performance in collaboration with Julia Kleinknecht and Angelina Kartsaki, Akademie der Künste Berlin

Selected Professional Work:

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” SARA NUYTEMANS 2007 - Interface, Interbiennial. Bratislava, Slovakia Born on July 1st, 1970, Nieuwpoort, Belgium - OostCultuurFestival, Zwolle (NL) Lives and works in Yogyakarta, Indonesia. - Surplace, Kasteel d'Ursell, Antwerpen (B) Website: www.saranuytemans.net, www.birdprayers.net, - Landing Soon #1, Artoteek Den Haag (NL) DUO www.facebook.com/observatoriesoftheself 2006 - Fatti e Finzioni, ARTlab, San Servolo, Venice (IT) - MMAC 06, Mollerussa, Catalunya (ES) EDUCATION - Performance met BMB con, re:visie, Centraal Museum Utrecht (NL) 1999- - Jack of Hearts, Stroom Den Haag (NL) 2000 - Master in Digital Arts, IUA, Pompeu Fabra Universiteit, Barcelona (ES) - Special Mission to Mongolia, Zaal5, Filmhuis Den Haag (NL) 1992- 2005 - Polderlicht 2005, Amsterdam (NL) 1997 - Master in Industrial Design Engineering, TU Delft (NL) - Special Mission to Mongolia, video installations in Mongolia, Ukraine, Russia, Kazakhstan. SELECTED EXHIBITIONS AND PERFORMANCES 2004 - New Forms Festival, Vancouver, Canada 2013 - Walking Peace, Arna, Harlosa, Sweden - Buitenspel, GEM, Den Haag (NL) - Observatories of the Self, Biasa Artspace Jakarta (ID) SOLO - IFI festival, Pazo da Cultura, Pontevedra, Galicia (ES) 2012 - Roundtable, Gwangju Biennale, Gwangju, South Korea - Rotterdamse Museumnacht 2004, TENT., Rotterdam (NL). - Festival FIAC bioterio, XVII International Festival of Contemporary Art in 2003 - Exposicion international de Honor, beinnial SIART, Museo National de Arte, Leon, Mexico La Paz, Bolivia - Observatories of the Self, S.14, Bandung (ID) SOLO - Ithaka, Kunstencentrum het Stuk, Leuven (B). - LiftOff Festival, Lift Gallery, San Fransisco, USA - Sala Metronom, Barcelona (ES) "Animales Divinos", performance with 2011 - Newton Festival, Naaldwijk (NL) "enReposo" - Jogja Biennial, Yogyakarta (ID) 2002 - Stand van zaken 2002, Stroom HCBK, Den Haag (NL) - TUFF, Toronto Urban Film Festival, Toronto (CAD) 2001 - Art Futura 2001, Centre de Cultura Contemporània de Barcelona (CCCB), - My Garden, The One Minutes Foundation; o.a. deBuren Brussel, Centraal Barcelona (ES) Museum Utrecht, Kunsthal KAdE Amersfoort, Marres Maastricht, NIMk - Cultuurdagen, Nieuwpoort (B) Amsterdam (NL) - City One Minutes, guangdong museum, Guangzhou, China AWARDS - Pufrok, Theater Zeebelt, Den Haag (NL) 2010 - Szpilman Award 2010, international art prize for ephemeral works 2010 - ID – Contemporary Art Indonesia, Kunstraum Kreuzberg-Bethanien, Berlin (D) RESIDENCIES - Emerging Wave, Contemporary Photo Exhibition 2010, Hangaram Art 2013 - Walking Peace, ARNA, Harlosa, Sweden Museum, Seoul, Korea 2010 - ID – Contemporary Art Indonesia, Kunstraum Kreuzberg-Bethanien, Berlin - Cut 2010, Kuala Lumpur, Singapore, Manila, Yogyakarta, South-East Asia (D) 2009 - Andergrond, The Hague (NL) 2007 - Sika Gallery, Ubud, Bali, (ID) - Jakarta Biennial, Nasional Galeri Jakarta, (ID) 2006 - Landing Soon, Cemeti Art House, Yogyakarta, (ID) - Opposites Attract, Veemvloer, Amsterdam (NL) 2006 - ArtLab, San Servolo, Venice (IT) 2008 - In Transition, Neme, National Centre of Contemporary Art, Moscow, Russia - Landing Soon, Erasmushuis, Jakarta, (ID) - Bunker expositie, De Waterkant, Den Haag (NL) SOLO - Lucy, UTA gallery, Istanbul, Turkey - Interface, Open Space Gallery, Vienna (AU)

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” SETU LEGI 2010 - Power Wagon, Jogja National Museum, Yogyakarta Born 4 January 1971, Yogyakarta, Indonesia - Manifesto, Percakapan Masa, Galeri Nasional Indonesia, Jakarta Address Jl. Nitipuran 183 A, Yogyakarta 55182 - reHorny 92, Jogja National Museum, Yogyakarta Email. [email protected], [email protected] 2009 - Jogja Jamming, Biennale X, Public on the Move, Yogyakarta - Exposigns, 25 years ISI Yogyakarta, Jogja Expo Center, Yogyakarta - Peduli Kasih, Memberi Dengan Hati, Plaza Senayan, Jakarta SHORT BIOGRAPHY - The Topology of Flatness, Edwin's Gallery, Jakarta Setu Legi, born 1971, graduated from the Indonesian Arts Institute in Yogyakarta in Visual - Guru Oemar Bakrie, Jogja Gallery, Yogyakarta Communication Design. As co-founder of the arts collective Taring Padi he concentrates also 2008 - Sacred Without Mystique, Jogja Gallery, Yogyakarta in his individual art works on socio-political and environmental themes. Beside graphic arts - Jogja Art Fair #1, Taman Budaya, Yogyakarta Arts Festival design, he mostly presents mixed media installations. - “Re-Form”, Langgeng Art Project, Yogyakarta 2007 - “Protect + Survive”, Blue Tongue Café, Lismore, Australia EDUCATION - “Bocor 3” (Leaking 3), Cemeti Art House, Yogyakarta 2000 - Graduated from Department of Visual Communication Design at Indonesian - Notthatbalai Festival, Annex Central Market, Kuala Lumpur, Malaysia Institute of Arts (ISI), Yogyakarta - “Are you ready” for French National Day, LIP, Yogyakarta 1990 - High school of Visual Arts (SMSR), Yogyakarta 2006 - “Young Arrows”, Jogja Gallery, Yogyakarta 2005 - “Seni Rupa Alat Bantu” (Tools Art), Bentara Budaya Yogyakarta ORGANIZATIONS 2004 - “Sekutu” (ally), mixed media, Bilik Marsinah, Yogyakarta 2012- - Exploration of Environmental Art (ISI), Bebeng, Mount Merapi, Yogyakarta present - Co-founder of the intercultural network Jogja InterKultur 2003 - “Jerami”, ﬁne art with dried rice stalks, Warsawah, Yogyakarta 1998- 2002 - “Story about Indonesia”, plate exhibition, Gelaran Budaya, Yogyakarta 2012 - Founding member of Taring Padi – Arts and Culture Collective, Yogyakarta 1999 - Post card exhibition with NGO KOKO, Tokyo, Japan 1993- 1998 - “Philip Morris V – Indonesian Art Award 1998”, National Gallery, Jakarta 2001 - Environmental Arts Students (Sasenitala) at ISI Yogyakarta 1997 - “Green Art”, British Council, Institute of Technology, Surabaya 1996 - “Metal Art Exhibition II”, Purna Budaya, Yogyakarta SOLO EXHIBITIONS 1995 - “Lustrum ISI XII”, Indonesian Institut of Arts, Yogyakarta 2008 - “Are you ready?”, interactive mixed media, Kedai Kebun Forum, Yogyakarta 1994 - Environmental Art Posters, CC-92, Karta Pustaka, Yogyakarta 2005 - “Social Realities”, Pförtnerhaus, Dresden, Germany 1993 - “KMDGI I”, Jakarta Design Center - “Black Lights”, mixed media, Parkir Space, Yogyakarta 1992 - “Forum Dinamika”, Indonesian Institut of Arts, Yogyakarta 2003 - “Achtung!”, Art photography, Ruang Mes 56, Yogyakarta EXHIBITIONS WITH TARING PADI OTHER EXHIBITIONS 2008 - “Strategies towards the Real – Sudjojono and Contemporary Indonesian 2012 - City Sound Scape, Jogjakarta Art”, National University Singapore Museum - Domestic Stuff, Galeri Salihara , Jakarta. Cemeti Art House, Yogyakarta 2006 - “Sedulur Gempa” (earthquake relatives), Goethe Institute Jakarta - Artspirasi Buruh Migran – Melintas Batas, Galeri Cipta II TIM , Jakarta 2005 - “Art for Nature”, Rimbundahan + WWF, Kuala Lumpur, Malaysia - Art Dubai, Medinat Jumeirah, UAE - “Calonarang”, Bilik Marsinah, Yogyakarta 2011 - Biennale Jogja XI – Equator #1, Shadow Lines – Indonesia meets India, 2004 - Indonesia Week, Museum Maluku, Amsterdam, Netherlands Jogja National Museum, Yogyakarta - “Unbekannte Schwester, Unbekannter Bruder” (unknown sister, unknown - One Day Exhibition, Launching of the Album “Somethingwrong”, Jogja brother), Kunsthaus Dresden, Germany National Museum, Yogyakarta 2003 - Taring Padi Graphic Arts, Indonesia House, Amsterdam, Netherlands - ID – Contemporary Art from Indonesia, Kunstraum Kreuzberg, Bethanien, 2002 - “4 Warung”, woodcut exhibition in four food stalls, Yogyakarta Berlin, Germany 2000 - “People's Culture Art”, Ex-Campus ISI, Gampingan, Yogyakarta

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” PRESENTATIONS TARING PADI 2011 - “Taring Padi – Seni Membongkar Tirani”, book launching and discussion, Desa Sembungan, RT 02 – Bangunjiwo Taman Ismail Marzuki, Jakarta Kasihan Bantul, Yogyakarta 2007/08 - “Are you ready”, interactive art project at LIP, Yogyakarta; Ruang Rupa, Email: [email protected] Jakarta; Lost Generation Art Space, Kuala Lumpur, Malaysia; tazcafe Berlin, Germany; Bill&George Art Laboratorium, Sydney, Australia; Balai Desa FOUNDING HISTORY Glagah, Kulon Progo, Java; Dragony Restaurant, Ubud, Bali Taring Padi is an independent organization that operates in the field of art and culture. On the 2006 - “Fundamental”, Mixed Media Performance with Emilia White and VJ Latex, 21st December 1998, Taring Padi declared its Cultural Manifesto, which expresses fervent Kinoki, Yogyakarta opposition to the art for art doctrine through both, state and private institutions, throughout 2003 - “Taring Padi – Art et Actions”, Pasar Malam, Paris, France the New Order period in Indonesia. 2002 - “Arts and Movement Activity” by Taring Padi, MUMA (Monash University Museum of Art) Melbourne, Australia Taring Padi feels the people of Indonesia are oppressed not only in the fields of economy and - “Radical Art and History” by Taring Padi, Roma Mitchell Art Center, politics, but the cultural sector as well, in that their right for creative expression in order to Adelaide, Australia create and develop and self determine their own culture has been repressed. For Taring Padi, art is at once a media and a weapon for art workers to express their ideas to RESIDENCIES the people. Taring Padi defines its role as the rebuilding of a peoples culture, and advocates a 2011 - ID – Contemporary Art from Indonesia, Kunsthaus Bethanien, Berlin, united conception of People-Orientated Art (Seni Kerakyatan), Taring Padi's measure for Germany social commitment emphasizes popular consciousness and the importance of siding with the 2005 - Pförtnerhaus Dresden, Germany people. 2003 - Indonesia House Amsterdam, Netherlands 2002 - ACRP (Australian Cultural Residency Program), Adelaide Festival of Arts, BASIS, AIM AND MISSION OF TARING PADI South Australia Taring Padi is founded on the principle of the People's Democracy. Their aim is to materialize the reality of a People's Democracy, which is defined as social prosperity, democratic justice, WORKSHOPS which is at once ecological and autonomous in cultural practice. Through art works and 2008 - “Kenduri Lima Dusun” (ritual feast of five villages), working with recycled cultural work, Taring Padi aims to produce a way of life within art and culture that opens materials, Cemeti Art House, Yogyakarta opportunities for the wishes, needs and aspirations of the people with the development of a 2007 - Woodcut and performance art with Cyclown Circus (Argentina/Italy/USA) progressive critical attitude that can offer solutions in support of the people. The mission of 2005 - “So Far – So Good”, travel art project by Nadin Reschke Taring Padi is to develop art and culture within the needs and aspirations of the people and to 2003 - Etching and copperplate with Yadi RW, Jakarta prioritize openness, social prosperity, sovereignty, equality between generations, 2002 - Illustration and text, graphic print with Berliner Handpresse and Felicitas democracy, the respect for Human Rights without sidelining the duty as living beings, gender Hoppe, Studio Taring Padi, Gampingan, Yogyakarta, in cooperation with equality, reformation of global relationships, anti-discrimination and the development of a Goethe-Institut Jakarta positive living environment. - Monochrome graphic print, South Australia University, Underdale, Australia ACTIVITIES Since its declaration, Taring Padi has been active in cultural activities both independently and in co-ordination with other organizations. Taring Padi is also active in various committees for actions that struggle for democracy and social justice held in Yogyakarta, Jakarta and other cities.

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Natalie Driemeyer Dramaturge and Curator

The topics climate and sustainability have played an important role in her work for some years now. She was artistic director of the interdisciplinary festival ODYSSEE : KLIMA (Odyssey : Climate) in Bremerhaven/Germany, combining science and theatre/art and dramatized the climate novel EISTAU (Melting ice) by Ilija Trojanow. She was director for the theatre part at the city theatre Bremerhaven. Currently on a world-climate-theatre- research-journey aiming at building a global network among climate artists. She is also, amongst others, member of the management committee of the Dramaturgy Society Germany.

Anna Peschke (*1978)

End of 2009 she graduated from her studies fo Applied Theatre Science in Gießen (Germany).Since she works as a stage director at the interface of visual and scenic art. Her performances are often site-specific and working with the architecture and history of the specific spaces. One of her main interests is the field of sustainability, environmental problems and alternative solutions.

For more information please see: www.annapeschke.de

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Natalie Driemeyer Dramaturge and Curator

Anna Peschke (*1978)

For more information please see: www.annapeschke.de

Climate Art Festival | Pameran Seni | ”Hutan di Titik Nol” Climate Art Festival | Visual Exhibition | ”Ground Zero Forest” Thanks to all environmentalists and people who save our earth Terima kasih untuk para aktivis lingkungan dan semua yang peduli terhadap bumi Thanks to all environmentalists and people who save our earth Terima kasih untuk para aktivis lingkungan dan semua yang peduli terhadap bumi Climate Art Festival HUTAN DI TITIK NOL | GROUND ZERO FOREST