[vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text]In conjunction with occupying > modernism curated by Avianti Armand & Setiadi Sopandi at Kopi Manyar, Bintaro; as well as FOMO/JOMO: Hacking modernity’s dualism curated by Hyphen — at RUBANAH Underground Hub, Menteng.


From, by and for whom?

Visualization of the national history

An archive exhibition curated by Hyphen —

October 5—26, 2019 | 11.00—19.00 | Gudside Gallery, Gudskul 


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?[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]

(Re)Producing fear and joy

A curatorial workshop led as part of “Articulation and Curation”


MON| OCT 7, 2019 | 14.00

RUBANAH Underground Hub

Without archive, everything remains “he says, she says…”

Introduction to the eminent sculptor Edhi Sunarso’s archive by Grace Samboh


MON| OCT 7, 2019 | 17.00

A look into the National History Museum, at Monumen Nasional



THU | OCT 17, 2019 | 15.00


The darker shades: Limits of regional tendencies in modern and contemporary Southeast Asian art

Lecture by Vera Mey

(Vera Mey is a PhD Candidate, History of Art and Archaeology, SOAS University London. Prior, she was contemporary art curator in institutions including ST PAUL St Gallery, AUT University (NZ) and the NTU Centre for Contemporary Art (SG).)


FRI | OCT 18, 2019 | 19.00

RUBANAH Underground Hub

Counter culture, happening art, and democracy in the milennials era

Lecture by Jati Andito

(Jati Andito is a voice over talent, vocalist and guitar player for WestJamNation, and a meber of Sindikasi, Indonesia’s only creative workers’ union.)


SUN-TUE | OCT 20-22, 2019


Podcast/audioguide production assistance


TUE | OCT 22, 2019 | 09.00

Miniaturizing the new face of the modern Indonesia

Guided tour to “Beautiful Indonesia” Miniature Park (TMII)


WED | OCT 23, 2019 | 14.00

RUBANAH Underground Hub

Introduction remarks by Gudskul

The monumental national history that lies below (and to) us

Keynote by Grace Samboh

(Grace Samboh is a curator and member of Hyphen —, a research initiative on artistic practices that constantly struggle to do more publishing work.)

(Re)Producing fear and joy Presentation by Gudskul participants

(The workshop series was held as a part of “Articulation and Curation”, one of Gudskul’s subject for their 2019-2020 batch.)

Bauhaus politics

Lecture by Christian Hiller

(Christian Hiller is a media scientist, curator, editor at ARCH+ Zeitschrift für Architektur und Stadtdiskurs, and a member of SEAM Encounters.)

Negotiating space, facilitating communities: The White Building and Sa Sa Art Projects

Lecture by Lyno Vuth

(Lyno Vuth is an artist, curator and a member of Sa Sa Art Projects, Phnom Penh’s only Cambodian artist-run space.)


SAT | OCT 26, 2019 | 09.00-15.00

Thamrin-Sudirman avenue; National History Museum in the National Monument; the Istiqlal Mosque; the Hotel Indonesia roundabout; and Gelora Bung Karno sport stadium and complex.


Our modern spaces as political communication

A guided tour with Grace Samboh; Gregorius Yolodi & Maria Rosantina; Setiadi Sopandi; and a presentation of workshop materials by presentations by Gudskul participants’[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_single_image image=”768″ img_size=”full” alignment=”center”][vc_empty_space][/vc_column][/vc_row]