Visualization Of The National History: From, By, and For Whom?
5-26 Oktober 2019
11.00 – 19.00 WIB
Galeri Gudside – Gudskul
A contribution by ruangrupa and Gudskul, curated by Hyphen —
The three erected national monuments in Jakarta, the capital city of the nation, were made within the early years of our independence: Monumen Selamat Datang (the Welcome Monument, 1961); Monumen Pembebasan Papua Barat (West Papua Liberation Monument, 1963); and Monumen Dirgantara (also known as the Pancoran Sculpture, 1970).
All of them were specifically ordered by the first president Sukarno and executed by the sculptor Edhi Sunarso. To a certain extent, Pak Edhi is often categorized as the state’s sculptor, or particularly Sukarno’s sculptor. As an artist, he did not dispute this idea. In his own museum, the display of each of those monuments’ miniatures are followed by a brief statement: Idea by Ir. Sukarno, visualization by Edhi Sunarso. Almost every narrative about Pak Edhi that we could find all throughout the art history of Indonesia would speak highly, if not over-glorifying, of his intimacy with Sukarno and the aesthetics that came out of that relationship. It is as if the whole art world – and the government, to some extent – collectively ignored the fact that most of Pak Edhi’s work was done after Sukarno died. That many of his works were actually commissioned by the regime that silenced Sukarno. After 32 years of reign, when Suharto’s regime was finally over, the Reformasi government would still work with him. Pak Edhi is – quite literally – the artist of all regimes. One could even argue that he is, therefore, the “National Artist”.
Hyphen – have digitalized more than 60,000 documents from Pak Edhi’s studios. We then focused our attention to three specific sets of dioramas: The National History Museum at the National Monument, the ones in the Crocodile Ditch Complex as well as the Satria Mandala Complex. These three museums were the first step of The New Order to build their dynasty of truth. We also acknowledged them as a history visualisation that the New Order wanted to build, importing the Old Order’s style – even the same visual workers.
Now, almost 20 years after the so-called Reformasi, we still cannot afford to even consider that the New Order’s version of the history is a done deal. These museums are still around, alive and open. Carrying the same old, same old narrative, they are still open to the public and are still the primary and high school tourism destinations of the entire republic. This means that our future is still defined by a regime that we put out 20 years ago. Haven’t we really moved on from this Old and New Order regimes? If the Reformasi is seen as a success, what has it achieved that goes beyond the Old and New? How do we argue the fact that within the past five years we seemed to only have two options; the new Old or the old New?
Podcast/Audioguide Production Workshop
(Re)Producing Fear and Joy: From, By, and For Whom?
7 October 2019 | 14.00 WIB
by Grace Samboh
Introduction and Diorama Tour to National Monument
at Rubanah Underground Hub & National Monument
17 October 2019 | 17.00 WIB
by Vera Mey
“Symbols from time to time in Southeast Asia”
at Galeri Gudside – Gudskul
18 October 2019 | 19.00 WIB
By Jati Andito
“Audio-based Art Production”
at Rubanah Underground Hub
20-21 October 2019
Podcast/Audioguide Production Assistance
at Galeri Gudside – Gudskul
22 October 2019 | 10.00 WIB
Guided tour to Taman Mini Indonesia Indah, to see the Borobudur miniature in particular, but also to experience the miniature Indonesian park project build by president Suharto’s wife and see the Museum Keprajuritan (Soldier Museum) with the dramatic dioramas of Edhi Sunarso.
Meeting Point at Gudskul
23 October 2019 | 13.00 WIB
Audioguide Idea Presentation by Gudskul’s participants
Rubanah Underground Hub
26 October 2019 | 10.00 WIB
Audioguide Presentation by Gudskul’s participants
Guided Tour to Gelora Bung Karno, National Monument, Istiqlal Mosque