EQUATOR SYMPOSIUM 2014 THE ONE AND THE MANY: ETHICS AND AESTHETICS IN PRACTICE IN 21ST CENTURY DEMOCRACY

17 - 18 November 2014

SEKOLAH PASCASARJANA GEDUNG LENGKUNG (5TH FLOOR) GADJAH MADA UNIVERSITY, YOGYAKARTA

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FOREWORD

Yustina Neni Director, Yogyakarta Biennale Foundation

Will we be left behind by the world if we take a little longer to drink a cup of tea? Why must we know everything, if knowing you and your friends already makes me feel like I’m chasing the clock? I need a cup of tea made from much more than just a tea- bag that looks like the pads I use when I’m menstruating. A young man from America has indeed discovered a fast and enjoyable way for us to get to know each other, greet each other and speak to our friends. But are there not times when we really want to look at someone and face them, when we’re falling in love or when we’re giving up hope? Or when I want you to tell me off, and give me a recipe to dry my palms, which are always sweaty when we shake hands? The young American has now exceeded the Finlandian jargon of “Connecting People,” which once accompanied the pleasure of drinking tea, over 15 years ago.

The Almighty Lord lives in the shadow of speed. After Steve Jobs moved into His apartments, I imagine He and Mr Jobs opening a new training-course for young angels. Not all the young angels are happy with their Lord’s idea.

Two or three angels who are enjoying their tea say “Lord, we don’t want to do a course with Mr Jobs. Please, just give us analogue 5

jobs. Haven’t you seen the advertisements optimistic small step, with a desire to seek from Malaysia that say ‘Everyone can Fly?’” and collect as many geniuses as possible (At the same time a professor from America from around the equator, to tell us about wrote an email to us: “I got cheap tickets!” the events and discoveries particular to their We were just as happy for the professor as he region. I am sure the tea provided at this was, and we sipped our non-tea-bag-tea with meeting does not come from a tea bag, but even more pleasure). do we need to know if it has been concocted with frangipani flowers? If so, then of course “You see Boss, that planet is becoming more that is a special act of sabotage that should be dangerous and Mr Jobs is just making it respected. The method of serving is perhaps easier and apparently more fun,” continued less than pleasant. the young angels – fans of slow movement – chorusing in harmony, “What’s so attractive Such is my introduction. about sinning with the tips of your fingers?” Finally, I represent the Yogyakarta Biennale The Almighty Lord of Shadows said crossly, Foundation, expressing our deep thanks to “Hey, you guys! You philistines! What’s so Dr G. R. Lono Simatupang MA, Chair of the ‘new’ about what you just said? Hasn’t it Pengkajian Seni Pertunjukan dan Seni Rupa always been this way, we’ve always used our (PSPSR – Performing Arts and Visual Arts fingers and a shake or a nod to punish or Studies Program) at Gadjah Mada University, reward humanity? Get out of here! Remind for his conceptual and material co-operation those tea drinkers that the tea they’re so and assistance. Thanks go also to all of proud of is mixed with frangipani flowers the ranks of the Director and Staff of the from the cemetery.” Postgraduate School of the Gadjah Mada University, who have helped this event take The two or three angels grumbled amongst place smoothly. The Yogyakarta Biennale themselves, “Who are the philistines? Doesn’t Foundation is supported by the Yogyakarta He drink tea from sunflower seeds? He used Special District’s Office of Culture. to drink tea from blueberries, before that He was brewing lotus, and before that it Please enjoy meeting in person, on the was a brew of cinammon and roots? He’d ground. Is there something we should be brew anything and call it tea. Our Lord drinks seeking? I’m not sure. concoctions that other people use to bath in.”

Respected ladies and gentleman, today and tomorrow, the 17th and 18th of November 2014, are special days for us, the Yogyakarta Biennale Foundation. I represent the Yogyakarta Biennale Foundation in expressing our pride, respect, and enormous gratitude to you for accepting our invitation, giving up your time and your resources to join us here, at the Equator Symposium, to share your expertise, your achievements, and all the unique experiences that you have collectively gained. Let us introduce the “Equator Symposium” as an 6

FOREWORD

Dr G. R. Lono Lastoro Simatupang MA discover new concepts and new energies for Performing Arts and Visual Arts Study the creation of cross-disciplinary practice and Program, Postgraduate School of UGM in each field of practice. Chair of Study Program We express our thanks to the Yogyakarta Always, creative activity permeates through Biennale Foundation, who have put their the lives of all mankind. The desire to create faith in this co-operation with the Performing and re-create is not the exclusive perogative Arts and Visual Arts Study Program at the of the arts (whatever one understands that Postgraduate School of UGM. Our thanks to be) but also the driving motor of everyday also go to the Director of the Postgraduate life, science, technology, economics and even School for the support they have given to the religion and government. By preserving, implementation of this symposium. To all the developing and utilising this creativity delegates from friendly nations, speakers, art humankind can actively create humanity. practitioners, art observers, the organisers and the participants in the symposium, we If at this time the arts is experiencing a express our thanks for your contribution in separation from other fields of life, that is realising the aspirations of the Performing more a product of the history of conceits Arts and Visual Arts Study Program and also of specialisation and working methods, the goals of the Postgraduate School of UGM rather than the principles that are the basis in general. We hope this co-operation will of the living practices of humankind. This continue, and bear fruit in diverse cross- separation encounters one of its most disciplinary applications, for the sake of important moments in the phrase “discipline” manifesting a more dignified humanity. that is used in science, everyday life, religion and government. Amongst the other fields of life, art is one that percieves “discipline” more loosely for the sake of broadening the creative field.

The Equator Symposium theme “The One and the Many: Practices in Ethics and Aesthetics in Democracy in the 21st Century” is a step towards re-introducing practitioners in diverse fields of life, blurring the conceits of specialisation in an approach that is more holistic. In this way, it is hoped that inter- disciplinary dialogue will occur in order to 7

and exchange perspectives. We will also be displaying various forms of documentation EQUATOR and archives to complement this. These are SYMPOSIUM #1 the three main components of ES 2014. Specifically, ES 2014 intends to explore the 2014 issue of the roles and involvements of the one and the many; citizens, in their role as citizens in the community, and in the state. This is of course connected directly to the Enin Supriyanto changes in the shifting roles and relationships Project Officer, Equator Symposium of citizens who have been shaped by their experience of democracy in Indonesia over the last decade or so. Of course, this is also associated with the different experiences of The Equator Symposium (ES) is part of the democracy for different states and peoples in Yogyakarta Biennale Foundation agenda the equatorial zone. At the same time, we are of activities, alongside the Biennale Jogja/ also experiencing various forms of completely Equator that has been running since 2011. open activity, with individuals and citizens This symposium is designed to be a meeting as active actors, which is enabled by access point for experts, academics, and artists to contemporary information technology to exchange opinions and information, so that involves many in one communicative that they can map various aspects of the interaction on a global scale. socio-cultural issues that occur around us at community, national and global levels. As in ES is an opportunity for observing and the Biennale Jogja, the scope of the ES’s co- understanding the diverse symptoms of operation is also international, global, with its change, while maintaining a critical attitude to primary attention focussed on the region of what is occuring, and projecting the various nations and people along the equatorial line. possibilities of its impact on the future. We expect that the Equator Symposium will ES was officially launched and publicised become an arena for useful encounters, not alongside the Biennale Jogja XII – Equator#2, only for the participants involved directly, but on the 19th November 2013. This event was also for the academic community and those populated with public lectures, discussion actors in socio-cultural activity in Indonesia. forms and and presented by various groups of activists with diverse activities. Drawing And in the end we hope that–as was from this experience, ES 2014 has been undertaken through the Asia-Africa designed as a forum with a broad scope. The Conference in 1995– the diverse thinking academics, experts and researchers that we and information that is pooled through this have invited to provided these critical public event will contribute to the formation of a lectures will reflect on our understanding of sturdy base for understanding, so that on that diverse examples of contemporary practice base we can implement associations across in art, cultue, socialising, politics and nations, contemporary global associations, economics. The artists and drivers of socio- with a co-operative spirit that acknowledges cultural activities in the community will be diversity, honouring the highest diginity of a presented at the the final gathering so that just humanity. they can share their experiences, information 8

FORUM A: IDEAS AND THINKING Forum A invites a number of experts to share • Islamic Films and Construction of Identities their current thinking about developments in of Urban Young Moslem People by the lives of citizens with a political-cultural Hariyadi (ID), moderated by Sazkia NA (ID) perspective. • Art, Activism and Strategies for Endogenic Development by Frans Ari Prasetyo, LOOKING AT THE PAST, UNDERSTANDING THE moderated by Mahatmanto (ID) PRESENT, PLANNING THE FUTURE Keynote speech by Rudolf Mrazek (CZ/US INTELLECTUALS, ARTIST AND CULTURAL Memory, Imagination and Nation FIGURES AND THE DEMOCRATIC PROCESS • The Influence of Colonialism on the Keynote speech by Suka Hardjana (ID) Morphology of City Spaces in the Java Rereading Gotong Royong Tradition in the from 1600-1942 by Rony Gunawan Sunaryo Perspective of the One (ID), moderated by Mahatmanto (ID) • Citizens, Politics and Participationby • I’m the One Who’s Mixed Up: Reflections Hilmar Farid (ID), moderated by Inyiak on Film from the Colonial Era to the Ridwan Muzir (ID) Beginning of Independence by Sazkia Noor • The Practice of the Biennale Jogja Parallel Anggraini (ID), moderated by Mahardika Events and Participatory arts Discourse Yudha (Forum Lenteng, Jakarta, ID) by Hendra Himawan (ID), moderated by Stanislaus Yangni (ID) CREATIVE PEOPLE: SITE, MEDIA AS SITE AND • Indonesian Identity during the New Order SOCIAL CHANGE Era through the Aesthetic Elements of the Keynote speech by St. Sunardi (ID) Decenta Group by Chabib Duta Hapsoro Bureaucracy and Managerialism: Challenges (ID), moderated by Hendro Wiyanto (ID) or Impediments in Change? • Aesthetics of Indonesian Visual Art: a • Imagining Indonesia Through Political Detour (Case studies Sudjojono, Affandi Meme from the 2014 Presidential and Nashar) by Stanislaus Yangni (ID), Electionsby Inyiak Ridwan Muzir (ID), moderated by Hendro Wiyanto (ID) moderated by Farah Wardani (ID) 9

FORUM B: Market’s Attitude, Investment and Income Distribution (Yulius Pratomo, ID) IDEAS AND EXPERIENCES • Exposing the Pseudo-Development of the Forum B offers diverse discussions on current World through Visual Art (Bintang Chairul cultural practice. A number of artists, curators Putra, ID) and activists will share their experiences in working with many people, simultaneously The City as a Space for Social-Cultural introducing them to each other so they might Negotiation exchange information and ideas. According to the United Nations, over half of the worlds population now lives in Mapping Current Artistic Practice: metropolitan centres. These cities have Tracing the Past, Looking into the Future borne the burnt of industrialisation, conflict During its twenty year projection, the and technological advances over the past Yogyakarta Biennale foundation has two centuries. Consequently the city has proposed to bring Indonesian artists and become the primary site for the negotiation scholars together with those from nations of diverse social and cultural experiences, around the equatorial belt. In the the first norms and aspirations. The speakers in two iterations, India and nations from the this session have taken creative and often Arab Penisula were involved in the Jogja subversive approaches to negotiating spaces Biennale exhibition projects. In this session for community life, individual growth and we will be joined by experts from these political engagement. regions who will map current artistic practice • The street: Cult or Public Space? (Yeah! dan and make projections for the future. Bujangan Urban, Gardu House, ID) • The Indian Interventionists (Suman • Changing the City, Changing Us (Archana Gopinath, IN) Prasad, Jaaga, Bengaluru, IN) • Lines of Control: Partition as a Productive • From Dust to Dust by Arief Yudi Rahman Space (Hammad Nasar, UK/HK) (Jatiwangi art Factory, Jawa Barat, ID) • Tales from Indonesia (Farah Wardani, ID) • To be responded by Frans Ari Prasetyo (ID) • Response by Ade Darmawan (ruangrupa, & Ade Darmawan (ruangrupa, Jakarta, ID) Jakarta, ID) Imagining Identities: Economy Based on the Many: Building the World with Public What is it? Does it Exist? While critics imagine globalisation as Modern economies, with their dependence necessarily leading to a homogenised global on property, expansion and massive scale culture of consumption, other creative markets, might seem to have little to do with practitioners see the increasing mobility of individuals–but despite the involvement people around the world as an opportunity of the many in the machinations of the for developing greater understandings economy, they best serve the interests of a amongst people and a more equitable very few extraordinarily privileged individuals. historical and cultural discourse. The speakers What might we achieve with collectively in this session present narratives of the oriented economies; why and how would this adventurous and the mundane, at home and be done? abroad. • Art Market in Salatiga: Analyzing the • Glimpse of Bengaluru (Ayisha Abraham, IN) 10

• The Equator Equine Expedition (Nirwana • Response Ardi Yunanto (Karbon Journal, Ahmad Arsuka, ID) Jakarta, ID) • Response by Mahardika Yudha (Forum Lenteng, Jakarta, ID) Internet as a Space for Social Encounters: Where is the State? Ethics and Aesthetics: Art Practice in the In 1984 Benedict Anderson proposed Lives of Society the nation as an imagined community of The advent of modernism in Europe and individuals with tenuous and constucted America forced the separation of art and commonalities. Today the ephemerality of society and constructed an undertanding that the nation state has been eclipsed by an aesthetic practice ethics were neccesarily even more virtual space in which people act separate realms. While this discourse out their communal lives, making personal dominated for some time, throughout the and political exchanges. The speakers in world more diverse practices combining this session are engaged in explorations ethical and aesthetic practice continued to that push the boundaries of these imagined evolve. Todays speakers from the in the communities and aspire to utilise the internet equatorial zone belong to an ever-increasing to enhance the exchange of culture and numbers of collectives, networks and knowledge, beyond the boundaries of the communities who utilise diverse creative nation state. research methodologies to address public • The Indonesian Visual Art Archive (Pitra space, human rights and social inclusivity. Hutomo, ID) • Amplifying the Public (Kathleen Azali, C2O, • Street Art Database and Archives (Riksa Surabaya, ID) Afiaty, ID) • Teenage Public (Dian Herdiany, Kampung • Response by Hammad Nasar (HK/UK) Halaman, Yogyakarta, ID) • Peddling a Generative System: Investigating Activating Society the Making of Creative Procedure The grand narratives of the 20th century have (Adhisuryo, ID) left many members of society behind, battling 11

with lack of access to education, access to FORUM C: services and a dignity within their community. Speakers in this session have activated the IDEAS AND DOCUMENTATION power of the many to imagine and enact new Forum C presents a selection of observations approoaches to gender equality, emergence from artistic activity that involves many from conflict and the rights of all members of people, as well as recordings of these society to access a full and dignified life. They activities. Some of these activities also tend to will share the challenges and successes in engender the involvement of more people. imagining new ways of being. • Imagining Poso (Lian Gogali Sekolah Showcases at Gedung Lengkung, Sekolah Perempuan Mosintuwu, Poso, ID) Pascasarjana, Universitas Gadjah Mada • Mental Health Awareness in Villages • Peddling a Generative System: Investigating (Sustriana Saragih, ID) the Making of a Creative Procedure • Art Activism: Education as a Bridge (Asep ES 2014 and curator Adhisurya speculate Topan, Institut Kesenian Jakarta, ID) that permutations of working methods • Response by Kusen Alipah Hadi (Yayasan are a tendency in contemporary arts Umar Kayam, Yogyakarta, ID) practice that replaces the development of styles. In this showcase session, Citizen Inititives for The New Indonesia Adhisurya will present his studies of recent The 2014 presidential elections marked a shift art practices that involve many people in attitudes amongst Indonesians towards through generative methods. Generative the the democratic process. With voting art (methods) are a development of not complusory, previous elections have movement, or a mediator that produces been notable for low voter turnouts; this something with a specific degree of year, with two candidates of vastly different freedom, or an intuitive decision from backgrounds, outlooks and ideologies, moment to moment. citizens began to take a more active role in encouraging their fellow citizens to participate • Art Activism: Education as a Bridge ES 2014 along with Asep Topan (Jakarta directly in the election, and not just by voting. Arts Institute) presents the possibility of Speakers in this session are among those who bridging recent activist art practice within took democracy into their own hands. higher education. The tension between • Assisting Our Voices (Kawal Pemilu, ID) satisfying aesthetic responsibilities as an • State as A Neighborhood (Tetangga Jokowi- artist and ethical responsibilities as an JK, ID) activist also means weighing the interests • To be responded by Hilmar Farid, ID of the individual artist and the interests associated with the many within the artwork.

• The Public as Creator During the Presidential Elections of 2014, a number of groups participated in the democratic process through creative initiatives, as creators and participants. Contemporary digital technology has 12

opened up opportunities and eased public Screening and performances at Amphitheater, participation in politics in unconventional Taman Budaya, Yogyakarta (Jl. Sriwedani 1) ways. From here emerged various simple game applications, ‘meme’ photos, MONDAY, 17 NOVEMBER, 7-10pm campaign videos and so on, which quickly • Considering Bengaluru: Three Films from spread far and wide through the internet. Ayisha Abraham The examples presented here demonstrate Ayisha Abraham works with found footage practices that are already in place, and help that represents a kind of archaeology of us to imagine the diverse possibilities for marginal practice in film. Her composite the future. films share a particular geographical area, and have been edited to create a visual • Youth Networks and Video in Indonesia: path to different experiences; the interiors Aku Massa, Gerobak Bioskop, Sekolah of a gold mine in Through the Dark Mine Remaja (2013); the excitement and recordings of a ES 2014 along with ruangrupa, Forum working class person who is fascinated with Lenteng and Kampung Halaman, gather recording technologies in the late 1940s networks of video-based youth movements to early 1950s, in Straight 8 (2005); the in the archipelago. The interests and livelihood of a labour migrant from Nepal concerns of these three organisations are who lives with his family in an basement different; however the space they move in switch room, the film punctuated by includes many people within the same age memories of his journey to India 35 years range. ruangrupa foregrounds creativity in earlier in One Way (2007). negotiating everyday life; Forum Lenteng foregrounds the use of video as a medium • Seni Gotong Royong: HackteriaLab 2014 – for learning and teaching; whilst Kampung Yogyakarta (in collaboration with Hackteria, Halaman use video as an expressive and Lifepatch and X-CODE films) articulative medium for teenagers across Citizen science has long contributed to the the archipelago. health of local communities by making 13

people aware of their environment in TUESDAY, 18 NOVEMBER, 7-10pm the form of oral histories and traditional • Björk: Biophilia Live (in collaboration with wisdom. Recently, the effort to democratize Goethe-Institut and Science Film Festival) science has created opportunities for Björk: Biophilia Live’ is a concert film that innovation and a model for public captures the human element of Björk’s participation in science. These movements multi-disciplinary multimedia project: ripple across many things, such as revival of Biophilia. Recorded live at Björk’s show in traditional knowledge and influential policy London’s Alexandra Palace (2013), the film forces, changing how we produce and share features Björk and her band performing knowledge into an iterative and collective every song on ‘Biophilia’ and more, using a process. Yogyakarta, Indonesia, has broad variety of instruments – some digital, been one of the most active hubs in this some traditional, and some completely movement. This documentary was made unclassifiable. The film has already been during the three weeks of HackteriaLab hailed as a captivating record of an artist in 2014 - Yogyakarta. full command of her idiosyncratic powers; an imaginative stand-alone artwork; and • Yogyakarta Soundscape 2014 (in is a vital piece of the grand mosaic that is collaboration with Festival Kesenian ‘Biophilia.’ Yogyakarta) Initiated within the constellation of the annual Festival Kesenian Yogyakarta (FKY, Yogyakarta Arts Festival) 2013, Yogyakarta Soundscape is a contribution towards the vast topics surrounding accoustic ecologies. It is a collective effort in creating the city’s soundmark–a concept of sound landmark. Yogyakarta Soundscape 2014 is a compilation of the city’s soundscape interpreted and documented by Jimmy Mahardika, Uya Cipriano, Indra - To Die, Belkastrelka, Ari Wulu, and Krishna ‘Soda Dosa’. The soundmarks within this compilation were installed in all the venues of FKY 2014: Nol Kilometer (Zero Kilometer), Plaza Ngasem, Pusat Kebudayaan Koesnadi Hardjasoemantri - Universitas Gadjah Mada, Ketoprak Tobong, Kleringan and Jogja National Museum. 14

industrial designer and an economic CONTRIBUTORS activist. In 2010, he co-founded the Orange House Studio, a non-profit organisation to accommodate collaborative activities between individuals and/or groups who seek to improve the quality of human living conditions while maintaining ecological sustainability. In August 2014 Bintang was selected to participate in the Equator Workshop. Alphabetically sorted by first names. C2O library & collabtive, an independent library and collaborative space that aims to advance critical learning, inter-disciplinary collaboration and research between Ade Darmawan is a founder/ director of the designers, artists, students, researchers and ruangrupa artists’ intiative in Jakarta and has individuals of all types. Kathleen Azali is one studied and exhibited throughout Indonesia of its founders, and is involved in this and and internationally. With ruangrupa, he is other efforts to build a conscious and critical engaged in research into art’s relationship public in the city of Surabaya. with its socio-cultural context in urban settings. He is currently the executive director Chabib Duta Hapsoro is a curator and writer, of the Jakarta Biennale, and was its artistic working with Selasar Sunaryo Art Space director in 2009. as well as on independent projects. He recently attained his masters degree from the Ardi Yunanto is a writer, designer and editor Institute of Technology Bandung, his research of Karbon Journal, which is published by focussing on the aesthetic practice of the Jakarta-based arts-initiative ruangrupa. Decenta artists’ group and their relationship The journal looks at public space and its to the state. He was selected to participate in utilisation, exploitation and interaction with the Equator Workshop in August 2014. and by artists and residents, especially in Jakarta. Yunanto is also the author of several Farah Wardani an art historian, curator and books concerning visual media in public writer, and is the director of the Indonesian space. Visual Arts Archive. Her strong interest in uncovering forgotten aspects of Indonesian Ayisha Abraham is a film-maker who collects art history, including the role of women, is found films and reassembles them into new complemented by a deep understanding of narratives. Although born in London she contemporary art. In 2013 she was the artistic trained as painter in India, and is a long term director of the Biennale Jogja XII. resident of Bangalore. There she is part of artists collective Bar 1, and her artworks often Frans Ari Prasetyo is a researcher in the field sensitively address issues that are specific to of urban-rural landscapes, visual knowledge her home town. and culture. His interests in this field include youth culture, art and architecture, planning Bintang Chairul Putra is a visual artist, 15

and civil society. He has worked with the Hendro Wiyanto is a respected writer, curator Indonesian and Canadian universities and and advocate for the arts in Indonesia and edits a magazine on urban studies. Prasetyo abroad. He sits on the board of the Langgeng was selected to participate in the Equator Art Foundation. Workshop in August 2014. Hilmar Farid is a historian who has spent Gardu House was established by a collective much of his career establishing organisations of street artists as a non-profit site for and mechanisms to promote greater workshops and as an alternative exhibition understanding and open discussion of space . It also operates as a place for street- Indonesian history, and its role in shaping artists to meet, collaborate and exchange contemporary Indonesian society and ideas and sell their work. They have actively culture. Farid is actively involved in regional created a public audience through their work and international networks that link history, in murals, merchandising and marketing of socio-cultural and political studies to praxis in street art. Bujangan Urban and Yeah! are social life. founders of Gardu House. (Inyiak) Ridwan Muzir is an academic, author Hammad Nasar is the Head of Research and translator. He has an abiding interest and Programmes at the Asia Art Archive in popular culture texts and their relationship to Hong Kong. Primarily London based, Nasar the individual’s political, religious, social an is a curator and a writer, and co-founded personal expressions. Inyiak was selected to the Green Cardamom organisation, which participate in the Equator Workshop in August is informed by artistic practice in Pakistan, 2014. South and West Asia and beyond. Lines of Control is an ongoing exhibition project that Jaaga is a collaborative, creative organisation explores the conceptualisation of nationhood. that brings together different communities in Bangalore. Through training and networking Hariyadi is a lecturer in sociology at his almer they are helping shape the development of mater, General Soedirman University, and Bangalore in a way that benefits the city’s recently completed his doctoral dissertation own residents. Archana Prasad is an an at the University of Western Australia. His artist and founder-director of Jagaa. Her recent academic work has focussed on Islam work addresses art, technology and urban in popular culture and film in Indonesia, communities using design and research examining the role of these texts in producing methodologies. political identity. Hariyadi was selected to participate in the Equator Workshop in August Jatiwangi art Factory (JaF)is situated in semi- 2014. rural West Java, operating alongside a roof- tile factory. This collective of creative thinkers Hendra Himawan is a graduate of the runs festivals and art towards a better future Indonesian Arts Instituteand an independent for residents of Jatiwangi. Arief Yudi Rahman curator, researcher and writer. He is also trained and worked in visual arts in Bandung active in theatre, performance and mural art and Jakarta before returning to help with the in Yogyakarta, and he recently represented family business and founding JAF. Indonesia in a regional project addressing relational aesthetics and particiaptory practices. 16

KawalPemilu.org is an initiave that escorts horseback through various part of the the counting of Indonesian presidential equatorial archipelago, tracing the routes election in 2014. of equestrian culture in different parts of Indonesia. Kusen Alipah Hadi is an actor, writer and a researcher in the field of social anthropology. Pitra Hutomo is a technician and archivist He runs the the Umar Kayam Foundation. at the Indonesian Visual Arts Archive. Her achievements there have included initiating Kampung Halaman was founded in 2006 the internationally recognised IVAA online and operates in many part of Indonesia. archive, which provides scholars around As a non-government organisation they the world with on-line access to archival use participatory photography and video documentation of Indonesian art and artists. projects to support children and teenagers Pitra also works with artists in Yogyakarta to in communities that are experiencing a rapid realise digital-based art projects. transition to modernity. Dian Herdiany is one of the founders of Kampung Halaman in 2006 Rudolf Mrazek is an expert in modern and remains a participatory education project Southeast Asian history, specialising in facilitator. Indonesia. In 2010 he published A Certain Age: Colonial Jakarta through the Memories Lian Gogali is the founder of the Mosintuwu of Its Intellectuals, drawing on a wealth of School for Girls in Poso, Sulawesi, a project interviews with elderly intellectuals, whose which aims to empwer women to act as imperfect recollections of youth provide an peacemakers in a region which has suffered insight into how people lived, thought and a great deal of Conflict. Gogali designs constructed meaning throughout the twilight educational processes which separate of colonial Jakarta. religion and conflict, and create space for a new narrative for Poso. Riksa Afiatyworks with ruangrupa investigating street art culture, and is Mahardika Yudha is the Coordinator of particularly interested in research based Research Development at Forum Lenteng arts projects. In 2013 Afiaty was a resident Jakarta, a collective of new media artists;he researcher at Cemeti Art House, where she is also a member of ruangrupa; and the Art investigated the development of graffiti Director for the 2013 OK Video Festival. As an and street art scenes in recent decades in artist he works with new media and has been Indonesia, through interviews and archival involved in many international exhibitions. documentation.

Mahatmanto is a lecturer in the Architecture Rony Gunawan Sunaryo is a lecturer in the Department at Duta Wacana Christian Architecture Department at Petra Christian University, with a particular interest in theory University, where his interests include urban and history in architecture. planning and history, as well as the history of architecture. He brings this together in his Nirwan Ahmad Arsuka is an editor and research into urban landscapes in Indonesia’s a writer who has been widely published, colonial history. Gunawan was selected especially in Kompas, and he served on to participate in the Equator Workshop in the curatorial board of the Bentara Budaya August 2014. in Jakarta. Over 2012 and 2013 he rode 17

Sazkia Noor Anggraini is an assistant lecturer in the Faculty of Recorded Media Art, Sustriana Saragih is a lecturer in psychology Indonesian Insitute of Art. She has studied and is currently undertaking her masters anthropology and film, and her recent work degree in clinical practice. She has worked has focussed on the relationship between as a counsellor and advocate for women identity politics and colonial discourse in children involved in domestic violence, films from the Dutch East Indies. Anggraini and has researched strategies developed was selected to participate in the Equator by the government to equip families and Workshop in August 2014. communities to deal with mental health issues. St. Sunardi has penned many publications on art, culture and society in the Indonesian and Based in Yogyakarta, Tetangga Jokowi-JK, ID global contexts. He lectures post-graduate (the “Neighbours of Jokowi-JK”) movement students in aesthetics and performance brought together hundreds of artists to studies at Sanata Dharma University and declare their support for the Jokowi - Jusuf Gadjah Mada University, and advises many Kalla candidacy in the 2014 presidential Indonesian arts organisations on their elections. The organisation represented strategic an philosophical approaches. an non-party based group, their manifesto declaring their opposition to the potential Stanislaus Yangni has worked as a journalist, re-emergence of the pre-reformasi oligarchy, writer and editor. She is the author of Dari and their desire for a reformist-minded leader Khaos ke Khaosmos: Estetika Seni Rupa into the future. (From Chaos to the Chaosmos: the Aesthetics of Visual Art) . She has a special interest Yulius Pratomo gained his masters degree in exploring the notion of an Indonesian at the Crawford School, Australian National aesthetic through past and present practice. University in 2010. He has published widely Yangni was selected to participate in the on economic issues, including export, Equator Workshop in August 2014. inflation, investment and ‘citizen honesty. Yulius’ research interests include uneven Suka Hardjana is an award-winning classical growth and the archipelagic economy, and musician and long-time music lecturer he teaches macroeconomics, international in Germany and Indonesia. In 1979 he economics and development economics at established ‘Composer Week’, which has held the Satya Wacana Christian University. He twelve iterations since. Hardjana is an active participated in the 2014 Equator Workshop. exponent of the importance of role of the arts in Indonesian society, and conversely the role that social context plays in the arts.

Suman Gopinath is an independent curator from India, who returns to Yogyakarta after having co-curated the Biennale Jogja XI Shadow Lines: India meets Indonesia in 2012. Gopinath is from Bangalore, where she was the founder of the CoLab Art & Architecture (2005), and works with the Tasveer Foundation on their museum project. 18

THE THINKING BEHIND THE EQUATOR SYMPOSIUM Enin Supriyanto Project Officer, Equator Symposium

The Jogja Biennale attempts to look forwards, developing new perspectives and opening itself to confronting the ‘establishment’ or the conventions of events like it.

Contemporary art discourse is very dynamic, although the dichotomy between the centre and the peripherary is still very apparent. There is a need to find new opportunities to give meaning to these events. We imagine a common platform for them, that is at the same time able to provoke the emergence of a diverse variety of perspectives in order to present new alternative to hegemonic discourse.

–Yogyakarta Biennale Foundation (YBY)

The Equatorial Symposium and the Jogja Biennale are two components of the the Yogyakarta Biennale Foundation’s program that cannot be reduced or compared. Through out the program, the equatorial series of the Jogja Biennale has always worked with few countries, and in the future will always leave behinds its previous partners, consequently the opportunity to develop understandings together is reduced, if not lost altogether. Due to this working pattern the Biennale Jogja will also lose the opportunity to continue dialogue with intellectuals from its partner countries. 19

The Equator Symposium wants to be Equator”, in the middle of the 20th century, bridge between as many ‘local geniuses’ with Indonesia as one of the main initiators, as possible from around the equator. Small as well as the host. occurences here and there are the triggers for various changes, the existence of which This brief essay will exploit this historical should be collected and vocalised in order event as the starting point that connects to continuously refresh our thinking and nations within the Equatorial belt - between inspire us. Their ingenuity in facing their 23.27° NL and 23.27° SL – who formed respective national complexities along the the largest proportion of the 29 nations equator is what the Equator Symposium (newly independent, former colonies of is interested in. We believe that together Western powers) that attended the Asia we can give the world a reason to change! Africa Conference (KAA) in Bandung, 1955.1 Through the Equator Symposium, YBY Furthermore, if we accept that the Non- positions itself as the connecting agent and Aligned Movement was an outcome of the also the point of dissemination for the latest Asia Africa Conference, then almost all the ideas, developments and growth from all the nations that have already or will in future countries in the equatorial region. Anything become colleagues of the Jogja Biennale, can connected to the creation of discourse around also be regarded as members of the Non- the equator is still open for negotiation. Aligned Movement.2 I am of the opinion that lessons from–and reflections on–the Asia The Equator Symposium is based on the spirit Africa Conference might provide stock for of organisation in the speech of Indonesia’s us to further understand our own problems first president, Sukarno, when he opened today, and also a challenge. These efforts the Asia-Africa Conference, 18 April 1955. will supply us with many points from which “What can we do? We can do much! We to approach the issues and challenges that can inject diverse reasoning into the world’s will be faced by the BJ if it genuinely wishes business. We can move all the spiritual, to pursue a political agenda in the world of moral and political strength of Asia and Africa global contemporary art. for peace!” What occured subsequently in post-reform Indonesia is often simplified as a A number of important footnotes about “change deficit” (to borrow a phrase from the Asia Africa Conference will give us a Dr. ST Sunardi). With regards to this, we feel picture of the thinking that developed in the we need to inspire ourselves, the people Asian-African nations when their leaders around us, and also Indonesian society in and intellectuals really began to consider general, to realise that change can happen. their positions and attitudes towards We can implement change. the imperialism that had structured and controlled the hierarchy of relationships What is interesting from YBY’s previous official between nations after the end of colonialism, explanation, is that the choice of region at the conclusion of WWII and the beginning and political agenda echoes socio-cultural- of global tensions through the Cold War. political issues that have brought Indonesia In this particular historical context we can to an important position on the map of inter- understand why Soekarno, the president of regional relations, as well as prestige in the Indonesia at that time, in his courageous journey of modern Indonesia. YBY’s initiative welcoming speech, clearly identified the and working agenda is also an echo from the Asia Africa Conference as the “first inter- past, from a meeting of “the nations of the continental conference of coloured peoples in 20

the history of mankind!”3 experts and practitioners in Indonesia in an international forum. Richard Wright (1908-1960) – a black American writer/journalist/civil rights activist Endnotes who moved to Paris and became a French 1. The 29 nations that participated in the Asia- citizen – was so enthused as to come to Africa conference, Bandung 1955 were: Bandung on his own initiative and expense Afghanistan, Indonesia, Pakistan, Burma/ just to witness the events of the Asia Africa Myanmar, Iran, the Philippines, Cambodia, Conference.4 Day in and day out, these Iraq, Iran, Saudi Arabia, Ceylon (Sri Lanka), crowds would stand in this tropic sun, staring, Japan, Sudan, People’s Republic of China, listening, applauding; it was the first time in Jordan, Syria, Laos, Thailand, Mesir, their downtrodden lives that they’d seen so Lebanon, Turki, Ethiopia, Liberia, North many men of their color, race, and nationality Vietnam, South Vietnam, Gold Coast, now arrayed in such aspects of power, their men Ghana, Libya, India, Nepal, Yemen. keeping order, their Asia and their Africa in 2. The Biennale Jogja’s zone of activity in the control of their destinies….5 Equator series is framed byt the northern latitude 23’27” and the southern latitude The YBY is what Wright called ‘an effort 23’27”. The YBY introduces Indonesia with: to control one’s own destiny’, because it India (2011), Arab Nations (2013), Africa is born forth by a group of contemporary (2015), South America (2017), States in arts practitioners who require a number the Pacific Islands and Australia (2019) – of particular agreements within the Jogja Because of the uniqueness of the area, the Biennale in order that it fulfil standards, and Jogja Biennale in 2019 will also be know as can continue to be developed. In that reality it the ‘Ocean Biennale’ And then in Southeast is logical that criticism emerge. Asia (2021). The series will then be finalised with the presentation of the Equator Because of this, the Equator Symposium, is an conference in 2022. international forum that is intended to be an 3. At the time of publication, I have not arena for the meeting of experts, theorists, been able to find the Indonesian language practitioners and researchers in various fields. version of the speech printed in the This is an event for the sharing of information book: Lahirkanlah Asia Baru dan Afrika and knowledge, and the exchange of thoughts Baru! Pidato P.J.M. Presiden Soekarno and opinions as a way of building critical pada pembukaan Konferensi Asia- understanding of various contemporary Afrika (Speeches from P.J.M. President arts practice in their association with Soekarno at the opening of the Asia Africa social, cultural and political dynamic in the Conference) 18 April 1955, (Translated equatorial region. into English by Intojo), Ministry for Foreign Affairs, Jakarta 1955. For my needs in this Hence, the practice and discourse of instance, I have used the English version contemporary arts needs an open, inclusive most widely available on the internet. space that is ready to undertake critical http://www.bandungspirit.org studies in the various relevant disciplines. 4. Notes and commentary on the Asia Africa The Equator Symposium also functions as Conference was published directly in the an effort to develop networks between the US in the form of a small book after the various individuals and institutions that conference: Richard Wright, The Color can activate the role of contemporary art Curtain, A Report on Bandung Conference, 21

World Publishing Company, N.Y., 1956. In this essay I refer to the new publication that includes three texts: Richard Wright,Black Power, Three Books from Exile: Black Power; The Color Curtain; and White Man, Listen!, Harper Perennial Modern Classics, N.Y., 2008.—pp. 429-629. 5. Richard Wright, 2008, p. 536. 22

problems like traffic jams, floods, natural WHO IS THE disasters, government policies and so on). There is a word “masyarakat” (society) ONE? WHO ARE that may seem more accurate than “the 1 many”, and this should be extrapolated THE MANY? here.3 The connotative meaning of the word “masyarakat” – just like “community,” “group,” and “collective” – actually limits our space to move and explore contemporary Grace Samboh possibilities for more than one person. Program Manager, Equator Symposium There are also meanings tied to particular disciplines, which attach these words to concepts used in those fields, for instance ‘society’ in political practice, ‘community’ In the Major Indonesian Dictionary, an orang in anthropology, ‘groups’ in sociology and [person] is a “manusia [human] (in a specific ‘collectives’ in art. sense)”.2 What does this mean? Specific in what way? ‘Person’ is a non-specific third Bear with this explanation based on the person term. The word “person” is used to Indonesian language. We have in fact indicate a specific human but not necessarily chosen to take this approach on the basis one human, for instance: “Don’t trust a of our national language because, in all person’s words easily” is an expression with cases, language is a tool for communication the intent to advise anyone about anyone between human beings, based on the else. If that sentence was whispered to you consensus of users. So, although words are by a friend in reference to someone nearby, arbitrary signifiers, if they continue to be then it would certainly be accompanied by a used, it follows that they represent life in denotative indicator, for example: “Don’t trust the place where that language is used. Yet that person’s words easily.” “Persons” is also a everywhere, language is frequently regarded classifier for people, for example: “Five fisher- as trivial. Nonetheless, with language we can persons were sailing with two nets.” SK 2014 have money, property, government, marriage selected the phrase “the one” – in its title – to and other social institutions; conversely, underscore the existence of the individual without language, we can have none of person in the scope of the many. these. 4 In many of his papers, Prof. Sudjoko quotes the dictionary, because he regarded How far is knowing and/or becoming it as a “artless an unpretentious” source.5 someone, connected to the gathering of ES 2014 wants to rekindle the enthusiasm many people? Is there a specific limitation of the former professor in the Faculty of Art on becoming a gathering of many? Is that and Design, Institute of Technology Bandung limitation geographic? Is it primordial or for the accurate and creative use of the ideological? Is it religious or gendered? Or Indonesian language. “To speak a language what...? This also raises further questions. Are is ordinary, so eventually it [language] will the limitations necessary? Who determines become ordinary too,” said Prof. Sudjoko, who the limitations and why? “The many” is a continues to be supported by the community gathering of people who possess a specific of Indonesian language devotees.6 similarity (either living place, neighbourhood, hobby, profession or even time-based 23

ES 2014 wants us all to be critical of these of the many? Or are the many merged into dynamics, which continue because we are them? Or do we merge them together? all thinking creatures. What occurs in the These questions need no answer because the structure of our collective imagination? Why many do not constitute an organisation, an do many people think the same way about association, a group or anything that depends the same things, in a form and manifestation on membership. The many are not apolitical, that is the same? Thinking critically begins but the many are free from the political value with questioning things that seem obvious. of togetherness, which has many different When the tag #ShameOnYouSBY disappeared agendas. from Twitter, for example, Tifatul Sembiring was immediately accused of being involved. There have been many efforts to However, it is clear that Twitter determines institutionalise that which has previously trending topics with algorithm based on what mobilised – and been mobilised by – the you follow and your location. This algorithm many; these efforts come from both state calculates topics which are popular over a and private interests. We are familiar short time, rather than those that have been with the situation where these institutions popular for some time or become routine.7 often end up adrift from what connects We must know the ‘rules of the game’ in the institution to the tempest of the many. advance so that we can think critically. This is When institutionalised, that which was once the habit that ES wants to awaken in us all. ‘something’ withers. Does not the institution begin with the many? Shouldn’t this mean the In the globalised world with the speed of institutionalised party is fulfilling the needs today’s information, do you know someone of the many? Remembering that in many as an isolated individual? Or as how the many cases institutionalisation fails, there must be distinguish him? Or as how the person in a particular and casuistic answer to these last question identifies himself as being a part of two questions. the many? Who is each individual inside the diverse formations of the many? Does this ES 2014 intends to discuss the dynamic of individual really exist? Perhaps this question social negotiations in current societal lives, is easier to answer of we blame the “national as well as the attraction of tendencies to identity” that the New Order proposed when depart from those negotiations. It is no longer its logic failed to adhere to the mentality of important whether these negotiations are the nation. Identity obviously belongs to the something that is ‘bottom up’ or ‘top down’. individual; the concept of national identity It is no longer important who the initiates becomes an effort towards uniformity and and whether the intention was obvious or the erasure of independence. Individuals who concealed. The dynamic of social movements may become part of the many are by nature based on negotiation is all around us and independent. Tolerance is the basis of the clearly we are within it. Are we aware of it? existence of the many. Without independence Do we know it? What is our role? In more a person cannot tolerate others. The basis of general political terms, we are in the process tolerance is simple: behave towards others as of questioning the connection between you would have them behave towards you, citizens and the state, with a particular do not do to others what you would not have emphasis on citizens (of the state). done to you. ES 2014 tries to reveal the ecosystem in the associations of the many (artist groups, Do people merge themselves in the gathering societal hobby-based groups, business 24

associations, etc) in the arrangement of their but you cannot have money, property, lives (city, village, country, and in between all government, or marriage without language. of these). Examining these encounters, either What is harder to see is the constitutive role physical or virtual, and how these encounters of language in each of these and, indeed, are then disseminated to many more people in all social institutions. Language does not is our first step in the effort to uncover the just describe a pre-existing institutional ecosystem of these groups. reality but is partly constitutive of that reality [...]” — John R. Searle, What is an Endnotes Institution? in the Journal of Institutional 1. The One and the Many is in fact the title of Economics (2005), 1: 1, p. 11-12 Grant Kester’s book on the diverse forms 5. Prof. Sudjoko, Pada Mulanya adalah Kata…. of cooperation in the field of contemporary (In the Beginning There Was the Word…) art. Kester’s thinking does not specifically in the daily newspaper Sinar Harapan, 22 inform the presentation of the Equator July 1978. (A paper written in English and Symposium 2014, apart from the title of the presented at the International Conference book, which is fairly representative of the on Art in Bandung, Indonesia, 9-14 July principle thinking behind the ES 2014. 1978) The scope of the Equator Symposium 6. Prof. Sudjoko Menjelang 50 Tahun encompasses the nations along the Indonesia Merdeka: “Hoodlums”, Bahasa equatorial line which divides the earth, dan Kekanak-kanakan (Sudjoko advances so, although we base our thinking in to 50 Years of Indonesian Independence: the Indonesian language, we must also “Buaya Darat” Language and its consider – at least – the English language. Childishness) in the daily Kompas, 5 April 2. In English, orang is “person” (a human 1995. being regarded as an individual) and 7. “Trends are determined by an algorithm orang banyak is “people” (human beings and, by default, are tailored for you based in general or considered collectively). on who you follow and your location. Merriam Webster Dictionary Version 2.2.1 This algorithm identifies topics that are (156), © 2005-2011 Apple Inc. All Rights immediately popular, rather than topics Reserved. that have been popular for a while or on a 3. The Major Indonesian Dictionary describes daily basis, to help you discover the hottest “masyarakat” (society) as a collection of emerging topics of discussion on Twitter people in its broadest sense, connected by that matter most to you.”From https:// a culture that they regard as the same. support.twitter.com/groups/50-welcome- 4. “[...] one reason that traditional accounts of to-twitter/topics/203-faqs/articles/101125- institutions, both in institutional economics faqs-about-trends-on-twitter (accessed 6 and elsewhere, are incomplete is that they October 2014, 14:37 WIB) all take language for granted. It is essential to see in exactly what respect language is the fundamental social institution in order that you can see the logical structure of the other social institutions. It is intuitively obvious, even pre-theoretically, that language is fundamental in a very precise sense: you can have language without money, property, government, or marriage, 25

ABOUT THE YOGYAKARTA BIENNALE FOUNDATION The Biennale Jogja (BJ) is a biennial arts event in Yogyakarta that has been held in Yogyakarta consistently since 1988. BJ occupies an important position (perhaps even the most important position) in measuring the progress of art in Indonesia. The BJ is no longer managed by an ad hoc Committee formed each time the BJ is due to take place. With the enormous potential in Yogyakarta’s variety of art, a special body needed to be formed to handle the Biennale Jogja.

The Yogyakarta Biennale Foundation (YBY), founded on August 2010, is a social organisation with a vision to “realise the strengthening of the quality of visual arts infrastructure, as part of developing Yogyakarta into a centre for education and culture, and a prominent tourist destination.” One of the YBY’s missions is to: “Initiate and facilitate various efforts to seek strategic, arts and culture based, city planning concepts, perfecting the cultural blue print for the city’s future as a fair and democratic living space for all.”

The Yogyakarta Biennale Foundation’s programs are: • The Biennale Jogja • The Equator Symposium • The Curatorial Academy (in the planning process) 26

The Biennale Jogja Equator series: Why the ‘Equator’? 2011 – 2021 The concept of the ‘Equator’ is not only In 2010 YBY organised and launched the BJ an imagining of a kind of frame that project as a series of exhibitions, with a long encompasses similarity, but also as a term agenda that will continue until 2022. departure point for embodying the diversity In the midst of the dynamics of an energetic of cultures in contemporary global society. global art realm – apparently inclusive and The ‘Equator’ is a joint vehicle for ‘re-reading’ egalitarian – the heirachy between the center the world. and the margins is still very real. Because of this, the need to intervene has become These encounters through art activity in the even more urgent. YBY imagines a united BJ Equator will be presented through the platform that is able to refute, interrupt or at spirit of building a sustainable network, then least provoke the dominance of the centre, dialogue, collaboration, and partnerships and raise alternatives through the diverse that can generate new collaborations, wider contemporary art practices and perspectives and more continuous, amongst practitioners of Indonesia. in the Equatorial region. Thus the BJ can contribute to the topography of the global art Initiated in 2011, YBY runs BJ as a series world as it is being newly reformulated. of exhibitions that depart from one larger theme, the EQUATOR. This series of biennales works in the region that falls between 23.27⁰ latitude north and 23.27⁰ latitude south. In each of its iterations the BJ will work with one or more nations or regions, a ‘colleague’, by inviting artists from nations in this region to collaborate, make work, exhibit and enter into dialogue with Indonesian artists, groups, and arts and cultural organisations in Yogyakarta.

This first journey around the planet began with a trip to the West to introduce Indonesia to India in 2011. In 2014 an encounter occurred between Indonesia and five nations in the Arab region: Egypt, Saudi Arabia, the United Arab Emirates, Oman and Yemen. In 2015 there will be a meeting between Indonesia and Nigeria. The meeting between Indonesia and the nations of Latin America will occur in 2017. In 2019 BJ will bring together a special area, the Pacific, so the meeting between Nusantara and the Pacific will be called the Ocean Biennale. In 2019 the Biennale Jogja will return to Southeast Asia.

This ten year journey will close with the Equator Conference in 2022. 27 28

LOCAL TRANSPORT IN GENERAL Jas Taxi: +62 274 373737 Sadewa Taxi: +62 274 414343

Taxis are the most convenient form of transport in Yogyakarta, they are generally Pandawa Taxi: available and can be contacted on the numbers below. However it is advisable +62 274 4370000 to request staff at your location (hotel, restaurant, shopping centre) to call a taxi for you. Taxis should always use their meter (argo) to calculate your fare. Pataga Taxi: +62 274 4384384 Public transport (TransJogja) is available and inexpensive. The network is limited but can be convenient for certain routes, is airconditioned and can be boarded at bus Asa Taxi: stops as indicated on the map. +62 274 545545 Centris Taxi: +62 274 544977 Tambayo Taxi: +62 274 6998000 29

To travel between locations, you may take KEY LOCATIONS a taxi. (If you are heading towards UGM from the south these instructions may help your driver: Tolong ambil rute lewat Jalan FOR THE Cik Di Tiro dan Jalan Kaliurang; belok kiri di pojok Fakultas Kehutanan, Jalan Kaliurang. LAUNCH OF Lokasi Gedung Pasca Sarjana UGM sebelah kanan jalan itu, sekitar 400 meter dari Jalan THE EQUATOR Kaliurang.) If you prefer to take public transport, the 3B SYMPOSIUM route on Jalan Pasar Kembang. As you exit the hotel, cross Jln Malioboro and walk east down the street that runs parallel to the train SEMINARS AND line, the bus stop is about 400 metres along PRESENTATIONS the road on the left. Make sure to tell the conductor your stop is on Jalan Teknik Utara SEKOLAH PASCASARJANA in UGM. From the bus stop walk east back GEDUNG LENGKUNG (5TH FLOOR) towards the roundabout and continue on GADJAH MADA UNIVERSITY, YOGYAKARTA until you reach the Gedung Pascasarjana on your right. Jl. Teknika Utara, Pogung, Sleman, Yogyakarta, Indonesia +61 274 544975, 555881, 564239 Email : [email protected]

SCREENINGS

AMPHITHEATER TAMAN BUDAYA YOGYAKARTA

Jalan Sriwedani No.1,Yogyakarta, Indonesia Phone: +62 274 523152 30 31

COLOPHON:

Equator Symposium 2014 Working Team: 17 – 18 November 2014 Project Officer: Enin Supriyanto Gedung Lengkung, Sekolah Pascasarjana, Universitas Program Manager: Grace Samboh Gadjah Mada Operational Manager: Ratna Mufida Amphitheater, Taman Budaya Yogyakarta Intern: Elly Kent Registration and Finance: Alief Nurunnahdliyah Equator Workshop Liaison Officer Venue: Michael Raditya 29 – 30 August 2014 Field Co-ordinator: Arya Batista SaRang Building, Yogyakarta Presentation Director:Theodorus Christanto (9m 15s) Technical Co-ordinator: Sakti Eko Kurniawan Open Call for Essays (Art Merdeka) 14 August – 13 September 2014 Photographic Documentation: Indra Arista Ramadhan, Sapto Agus Organiser: Yayasan Biennale Yogyakarta Video Documentation: Dwe Rahmanto Co-Organisers: (Indonesian Visual Art Archive) Provincial Office for Culture, Yogyakarta Special District Graphic Designer: Anang Saptoto Performing Arts and Visual Arts Study Program, School of Seminar Kit: Yohanna Titis Postgraduate Studies, Gadjah Mada University Consumption: Sri Ningrum Hospitality: Antonius Fajar Riyanto, Julia Tetuko, Gisella Thanks to: Swaragita Sultan Hamengkubuwono X, Governor of the Yogyakarta Special District (DIY) Volunteers: The Head of the Office of Culture, DIY Dini Caraka Pakarti, Hendra Setiawan, Eri Kisworo, Head of Taman Budaya DIY Ayu Rahayu, Novia Nur Kartikasari, Swastika Dhesti Director of the Postgraduate School, UGM Anggriani, Agustinus Sani, Lintang Arum Ndalu, Albert, Chair of the PSPSR Study Program, Postgraduate School, Elis Yuliani, Latifa Dewi Hapsari, Ananditya Gustiani, Gadjah Mada University Agni Saraswati SaRang Building ST Sunardi Martin Suryajaya Frangky Hari Budiman Hilmar Farid Sastha Sunu Asmudjo Jono Irianto Agung Kurniawan CONTACT: Natasha Sidharta Marco Kusumawijaya Hafiz Rancajale Helmi Hardian Maria Hidayatun Equator Symposium Martha Nandari Yayasan Biennale Yogyakarta Arief Sadjiarto Ahmad Anfasul Marom Taman Budaya Yogyakarta Eko Prawoto Jl. Sriwedani 1, Yogyakarta, Indonesia Maria Adriani P: +62 274 587712 Minimi Studio Idaman Andarmosoko E: [email protected] Indonesian Visual Art Archive www.equatorsymposium.org 9m 15s Goethe Institut & Science Film Festival Lifepatch, Hackteria, X-Code Films Teater Garasi/Garasi Performance Intitute Art Merdeka All our contributors and participants