EQUATOR SYMPOSIUM 2014

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 teabag 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

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jobs. Haven’t you seen the advertisements from Malaysia that say ‘Everyone can Fly?’” (At the same time a professor from America wrote an email to us: “I got cheap tickets!”

We were just as happy for the professor as he was, and we sipped our non-tea-bag-tea with even more pleasure).

“You see Boss, that planet is becoming more dangerous and Mr Jobs is just making it easier and apparently more fun,” continued the young angels – fans of slow movement – chorusing in harmony, “What’s so attractive about sinning with the tips of your fingers?”

The Almighty Lord of Shadows said crossly, “Hey, you guys! You philistines! What’s so ‘new’ about what you just said? Hasn’t it always been this way, we’ve always used our fingers and a shake or a nod to punish or reward humanity? Get out of here! Remind those tea drinkers that the tea they’re so proud of is mixed with frangipani flowers from the cemetery.”

The two or three angels grumbled amongst themselves, “Who are the philistines? Doesn’t He drink tea from sunflower seeds? He used to drink tea from blueberries, before that He was brewing lotus, and before that it was a brew of cinammon and roots? He’d brew anything and call it tea. Our Lord drinks 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

optimistic small step, with a desire to seek and collect as many geniuses as possible from around the equator, to tell us about the events and discoveries particular to their region. I am sure the tea provided at this meeting does not come from a tea bag, but do we need to know if it has been concocted with frangipani flowers? If so, then of course that is a special act of sabotage that should be respected. The method of serving is perhaps less than pleasant.

Such is my introduction.

Finally, I represent the Yogyakarta Biennale Foundation, expressing our deep thanks to Dr G. R. Lono Simatupang MA, Chair of the Pengkajian Seni Pertunjukan dan Seni Rupa (PSPSR – Performing Arts and Visual Arts Studies Program) at Gadjah Mada University, for his conceptual and material co-operation and assistance. Thanks go also to all of the ranks of the Director and Staff of the Postgraduate School of the Gadjah Mada University, who have helped this event take place smoothly. The Yogyakarta Biennale Foundation is supported by the Yogyakarta Special District’s Office of Culture.

Please enjoy meeting in person, on the ground. Is there something we should be seeking? I’m not sure.

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FOREWORD

Dr G. R. Lono Lastoro Simatupang MA Performing Arts and Visual Arts Study Program, Postgraduate School of UGM Chair of Study Program Always, creative activity permeates through the lives of all mankind. The desire to create and re-create is not the exclusive perogative of the arts (whatever one understands that to be) but also the driving motor of everyday life, science, technology, economics and even religion and government. By preserving, developing and utilising this creativity humankind can actively create humanity.

If at this time the arts is experiencing a separation from other fields of life, that is more a product of the history of conceits of specialisation and working methods, rather than the principles that are the basis of the living practices of humankind. This separation encounters one of its most important moments in the phrase “discipline” 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 interdisciplinary dialogue will occur in order to

discover new concepts and new energies for the creation of cross-disciplinary practice and in each field of practice.

We express our thanks to the Yogyakarta Biennale Foundation, who have put their faith in this co-operation with the Performing Arts and Visual Arts Study Program at the Postgraduate School of UGM. Our thanks also go to the Director of the Postgraduate School for the support they have given to the implementation of this symposium. To all the delegates from friendly nations, speakers, art practitioners, art observers, the organisers and the participants in the symposium, we express our thanks for your contribution in realising the aspirations of the Performing Arts and Visual Arts Study Program and also the goals of the Postgraduate School of UGM in general. We hope this co-operation will continue, and bear fruit in diverse crossdisciplinary applications, for the sake of manifesting a more dignified humanity.

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EQUATOR SYMPOSIUM #1 2014 Enin Supriyanto Project Officer, Equator Symposium

The Equator Symposium (ES) is part of the Yogyakarta Biennale Foundation agenda of activities, alongside the Biennale Jogja/ Equator that has been running since 2011.

This symposium is designed to be a meeting point for experts, academics, and artists to exchange opinions and information, so that they can map various aspects of the socio-cultural issues that occur around us at community, national and global levels. As in the Biennale Jogja, the scope of the ES’s cooperation is also international, global, with its primary attention focussed on the region of nations and people along the equatorial line.

ES was officially launched and publicised alongside the Biennale Jogja XII – Equator#2, on the 19th November 2013. This event was populated with public lectures, discussion forms and and presented by various groups of activists with diverse activities. Drawing from this experience, ES 2014 has been designed as a forum with a broad scope. The academics, experts and researchers that we have invited to provided these critical public lectures will reflect on our understanding of diverse examples of contemporary practice in art, cultue, socialising, politics and economics. The artists and drivers of sociocultural activities in the community will be presented at the the final gathering so that they can share their experiences, information

and exchange perspectives. We will also be displaying various forms of documentation and archives to complement this. These are the three main components of ES 2014.

Specifically, ES 2014 intends to explore the 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 changes in the shifting roles and relationships 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 democracy for different states and peoples in the equatorial zone. At the same time, we are also experiencing various forms of completely open activity, with individuals and citizens as active actors, which is enabled by access to contemporary information technology that involves many in one communicative interaction on a global scale.

ES is an opportunity for observing and understanding the diverse symptoms of change, while maintaining a critical attitude to what is occuring, and projecting the various possibilities of its impact on the future. We expect that the Equator Symposium will become an arena for useful encounters, not only for the participants involved directly, but also for the academic community and those actors in socio-cultural activity in Indonesia.

And in the end we hope that–as was undertaken through the Asia-Africa Conference in 1995– the diverse thinking and information that is pooled through this event will contribute to the formation of a sturdy base for understanding, so that on that base we can implement associations across nations, contemporary global associations, with a co-operative spirit that acknowledges diversity, honouring the highest diginity of a just humanity.

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FORUM A: IDEAS AND THINKING Forum A invites a number of experts to share their current thinking about developments in the lives of citizens with a political-cultural perspective.

LOOKING AT THE PAST, UNDERSTANDING THE PRESENT, PLANNING THE FUTURE Keynote speech by Rudolf Mrazek (CZ/US Memory, Imagination and Nation • The Influence of Colonialism on the Morphology of City Spaces in the Java from 1600-1942 by Rony Gunawan Sunaryo (ID), moderated by Mahatmanto (ID) • I’m the One Who’s Mixed Up: Reflections on Film from the Colonial Era to the Beginning of Independence by Sazkia Noor Anggraini (ID), moderated by Mahardika Yudha (Forum Lenteng, Jakarta, ID) CREATIVE PEOPLE: SITE, MEDIA AS SITE AND SOCIAL CHANGE Keynote speech by St. Sunardi (ID) Bureaucracy and Managerialism: Challenges or Impediments in Change?

• Imagining Indonesia Through Political Meme from the 2014 Presidential Elections by Inyiak Ridwan Muzir (ID), moderated by Farah Wardani (ID)

• Islamic Films and Construction of Identities of Urban Young Moslem People by Hariyadi (ID), moderated by Sazkia NA (ID) • Art, Activism and Strategies for Endogenic Development by Frans Ari Prasetyo, moderated by Mahatmanto (ID) INTELLECTUALS, ARTIST AND CULTURAL FIGURES AND THE DEMOCRATIC PROCESS Keynote speech by Suka Hardjana (ID) Rereading Gotong Royong Tradition in the Perspective of the One • Citizens, Politics and Participation by Hilmar Farid (ID), moderated by Inyiak Ridwan Muzir (ID) • The Practice of the Biennale Jogja Parallel Events and Participatory arts Discourse

by Hendra Himawan (ID), moderated by Stanislaus Yangni (ID) • Indonesian Identity during the New Order Era through the Aesthetic Elements of the Decenta Group by Chabib Duta Hapsoro (ID), moderated by Hendro Wiyanto (ID) • Aesthetics of Indonesian Visual Art: a Detour (Case studies Sudjojono, Affandi and Nashar) by Stanislaus Yangni (ID), moderated by Hendro Wiyanto (ID)

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FORUM B: IDEAS AND EXPERIENCES Forum B offers diverse discussions on current cultural practice. A number of artists, curators and activists will share their experiences in working with many people, simultaneously introducing them to each other so they might exchange information and ideas.

Mapping Current Artistic Practice: Tracing the Past, Looking into the Future During its twenty year projection, the Yogyakarta Biennale foundation has proposed to bring Indonesian artists and scholars together with those from nations around the equatorial belt. In the the first two iterations, India and nations from the Arab Penisula were involved in the Jogja Biennale exhibition projects. In this session we will be joined by experts from these regions who will map current artistic practice and make projections for the future.

• The Indian Interventionists (Suman Gopinath, IN) • Lines of Control: Partition as a Productive Space (Hammad Nasar, UK/HK) • Tales from Indonesia (Farah Wardani, ID) • Response by Ade Darmawan (ruangrupa, Jakarta, ID) Economy Based on the Many: What is it? Does it Exist?

Modern economies, with their dependence on property, expansion and massive scale markets, might seem to have little to do with individuals–but despite the involvement of the many in the machinations of the economy, they best serve the interests of a very few extraordinarily privileged individuals.

What might we achieve with collectively oriented economies; why and how would this be done?

• Art Market in Salatiga: Analyzing the

Market’s Attitude, Investment and Income Distribution (Yulius Pratomo, ID) • Exposing the Pseudo-Development of the World through Visual Art (Bintang Chairul Putra, ID) The City as a Space for Social-Cultural Negotiation According to the United Nations, over half of the worlds population now lives in metropolitan centres. These cities have borne the burnt of industrialisation, conflict and technological advances over the past two centuries. Consequently the city has become the primary site for the negotiation of diverse social and cultural experiences, norms and aspirations. The speakers in this session have taken creative and often subversive approaches to negotiating spaces for community life, individual growth and political engagement.

• The street: Cult or Public Space? (Yeah! dan Bujangan Urban, Gardu House, ID) • Changing the City, Changing Us (Archana Prasad, Jaaga, Bengaluru, IN) • From Dust to Dust by Arief Yudi Rahman (Jatiwangi art Factory, Jawa Barat, ID) • To be responded by Frans Ari Prasetyo (ID) & Ade Darmawan (ruangrupa, Jakarta, ID) Imagining Identities: Building the World with Public While critics imagine globalisation as necessarily leading to a homogenised global culture of consumption, other creative practitioners see the increasing mobility of people around the world as an opportunity for developing greater understandings amongst people and a more equitable historical and cultural discourse. The speakers in this session present narratives of the adventurous and the mundane, at home and abroad.

• Glimpse of Bengaluru (Ayisha Abraham, IN)

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• The Equator Equine Expedition (Nirwana Ahmad Arsuka, ID) • Response by Mahardika Yudha (Forum Lenteng, Jakarta, ID) Ethics and Aesthetics: Art Practice in the Lives of Society The advent of modernism in Europe and America forced the separation of art and society and constructed an undertanding that aesthetic practice ethics were neccesarily separate realms. While this discourse dominated for some time, throughout the world more diverse practices combining ethical and aesthetic practice continued to evolve. Todays speakers from the in the equatorial zone belong to an ever-increasing numbers of collectives, networks and communities who utilise diverse creative research methodologies to address public space, human rights and social inclusivity.

• Amplifying the Public (Kathleen Azali, C2O, Surabaya, ID) • Teenage Public (Dian Herdiany, Kampung Halaman, Yogyakarta, ID) • Peddling a Generative System: Investigating the Making of Creative Procedure (Adhisuryo, ID)

• Response Ardi Yunanto (Karbon Journal, Jakarta, ID) Internet as a Space for Social Encounters: Where is the State?

In 1984 Benedict Anderson proposed the nation as an imagined community of individuals with tenuous and constucted commonalities. Today the ephemerality of the nation state has been eclipsed by an even more virtual space in which people act out their communal lives, making personal and political exchanges. The speakers in this session are engaged in explorations that push the boundaries of these imagined communities and aspire to utilise the internet to enhance the exchange of culture and knowledge, beyond the boundaries of the nation state.

• The Indonesian Visual Art Archive (Pitra Hutomo, ID) • Street Art Database and Archives (Riksa Afiaty, ID) • Response by Hammad Nasar (HK/UK) Activating Society The grand narratives of the 20th century have left many members of society behind, battling

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with lack of access to education, access to services and a dignity within their community.

Speakers in this session have activated the power of the many to imagine and enact new approoaches to gender equality, emergence from conflict and the rights of all members of society to access a full and dignified life. They will share the challenges and successes in imagining new ways of being.

• Imagining Poso (Lian Gogali Sekolah Perempuan Mosintuwu, Poso, ID) • Mental Health Awareness in Villages (Sustriana Saragih, ID) • Art Activism: Education as a Bridge (Asep Topan, Institut Kesenian Jakarta, ID) • Response by Kusen Alipah Hadi (Yayasan Umar Kayam, Yogyakarta, ID) Citizen Inititives for The New Indonesia The 2014 presidential elections marked a shift in attitudes amongst Indonesians towards the the democratic process. With voting not complusory, previous elections have been notable for low voter turnouts; this year, with two candidates of vastly different backgrounds, outlooks and ideologies, citizens began to take a more active role in encouraging their fellow citizens to participate directly in the election, and not just by voting.

Speakers in this session are among those who took democracy into their own hands.

• Assisting Our Voices (Kawal Pemilu, ID) • State as A Neighborhood (Tetangga JokowiJK, ID) • To be responded by Hilmar Farid, ID

FORUM C: IDEAS AND DOCUMENTATION Forum C presents a selection of observations from artistic activity that involves many people, as well as recordings of these activities. Some of these activities also tend to engender the involvement of more people.

Showcases at Gedung Lengkung, Sekolah Pascasarjana, Universitas Gadjah Mada • Peddling a Generative System: Investigating the Making of a Creative Procedure ES 2014 and curator Adhisurya speculate that permutations of working methods are a tendency in contemporary arts practice that replaces the development of styles. In this showcase session, Adhisurya will present his studies of recent art practices that involve many people through generative methods. Generative art (methods) are a development of movement, or a mediator that produces something with a specific degree of freedom, or an intuitive decision from moment to moment.

• Art Activism: Education as a Bridge ES 2014 along with Asep Topan (Jakarta Arts Institute) presents the possibility of bridging recent activist art practice within higher education. The tension between satisfying aesthetic responsibilities as an artist and ethical responsibilities as an activist also means weighing the interests 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

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opened up opportunities and eased public participation in politics in unconventional ways. From here emerged various simple game applications, ‘meme’ photos, campaign videos and so on, which quickly spread far and wide through the internet.

The examples presented here demonstrate practices that are already in place, and help us to imagine the diverse possibilities for the future.

• Youth Networks and Video in Indonesia: Aku Massa, Gerobak Bioskop, Sekolah Remaja ES 2014 along with ruangrupa, Forum Lenteng and Kampung Halaman, gather networks of video-based youth movements in the archipelago. The interests and concerns of these three organisations are different; however the space they move in includes many people within the same age range. ruangrupa foregrounds creativity in negotiating everyday life; Forum Lenteng foregrounds the use of video as a medium for learning and teaching; whilst Kampung Halaman use video as an expressive and articulative medium for teenagers across the archipelago.

Screening and performances at Amphitheater, Taman Budaya, Yogyakarta (Jl. Sriwedani 1) MONDAY, 17 NOVEMBER, 7-10pm • Considering Bengaluru: Three Films from Ayisha Abraham Ayisha Abraham works with found footage that represents a kind of archaeology of marginal practice in film. Her composite films share a particular geographical area, and have been edited to create a visual path to different experiences; the interiors of a gold mine in Through the Dark Mine (2013); the excitement and recordings of a working class person who is fascinated with recording technologies in the late 1940s to early 1950s, in Straight 8 (2005); the livelihood of a labour migrant from Nepal who lives with his family in an basement switch room, the film punctuated by memories of his journey to India 35 years earlier in One Way (2007).

• Seni Gotong Royong: HackteriaLab 2014 – Yogyakarta (in collaboration with Hackteria, Lifepatch and X-CODE films) Citizen science has long contributed to the health of local communities by making

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people aware of their environment in the form of oral histories and traditional wisdom. Recently, the effort to democratize science has created opportunities for innovation and a model for public participation in science. These movements ripple across many things, such as revival of traditional knowledge and influential policy forces, changing how we produce and share knowledge into an iterative and collective process. Yogyakarta, Indonesia, has been one of the most active hubs in this movement. This documentary was made during the three weeks of HackteriaLab 2014 - Yogyakarta.

• Yogyakarta Soundscape 2014 (in collaboration with Festival Kesenian 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.

TUESDAY, 18 NOVEMBER, 7-10pm • Björk: Biophilia Live (in collaboration with Goethe-Institut and Science Film Festival) Björk: Biophilia Live’ is a concert film that captures the human element of Björk’s multi-disciplinary multimedia project: Biophilia. Recorded live at Björk’s show in London’s Alexandra Palace (2013), the film features Björk and her band performing every song on ‘Biophilia’ and more, using a broad variety of instruments – some digital, some traditional, and some completely unclassifiable. The film has already been hailed as a captivating record of an artist in full command of her idiosyncratic powers; an imaginative stand-alone artwork; and is a vital piece of the grand mosaic that is ‘Biophilia.’

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CONTRIBUTORS

Alphabetically sorted by first names.

Ade Darmawan is a founder/ director of the ruangrupa artists’ intiative in Jakarta and has studied and exhibited throughout Indonesia and internationally. With ruangrupa, he is engaged in research into art’s relationship with its socio-cultural context in urban settings. He is currently the executive director of the Jakarta Biennale, and was its artistic director in 2009.

Ardi Yunanto is a writer, designer and editor of Karbon Journal, which is published by Jakarta-based arts-initiative ruangrupa.

The journal looks at public space and its utilisation, exploitation and interaction with and by artists and residents, especially in Jakarta. Yunanto is also the author of several books concerning visual media in public space.

Ayisha Abraham is a film-maker who collects found films and reassembles them into new narratives. Although born in London she trained as painter in India, and is a long term resident of Bangalore. There she is part of artists collective Bar 1, and her artworks often sensitively address issues that are specific to her home town.

Bintang Chairul Putra is a visual artist,

industrial designer and an economic 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.

C2O library & collabtive, an independent library and collaborative space that aims to advance critical learning, inter-disciplinary collaboration and research between designers, artists, students, researchers and individuals of all types. Kathleen Azali is one of its founders, and is involved in this and other efforts to build a conscious and critical public in the city of Surabaya.

Chabib Duta Hapsoro is a curator and writer, working with Selasar Sunaryo Art Space as well as on independent projects. He recently attained his masters degree from the Institute of Technology Bandung, his research focussing on the aesthetic practice of the Decenta artists’ group and their relationship to the state. He was selected to participate in the Equator Workshop in August 2014.

Farah Wardani an art historian, curator and writer, and is the director of the Indonesian Visual Arts Archive. Her strong interest in uncovering forgotten aspects of Indonesian art history, including the role of women, is complemented by a deep understanding of contemporary art. In 2013 she was the artistic director of the Biennale Jogja XII. Frans Ari Prasetyo is a researcher in the field of urban-rural landscapes, visual knowledge and culture. His interests in this field include youth culture, art and architecture, planning

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and civil society. He has worked with the Indonesian and Canadian universities and edits a magazine on urban studies. Prasetyo was selected to participate in the Equator Workshop in August 2014.

Gardu House was established by a collective of street artists as a non-profit site for workshops and as an alternative exhibition space . It also operates as a place for streetartists to meet, collaborate and exchange ideas and sell their work. They have actively created a public audience through their work in murals, merchandising and marketing of street art. Bujangan Urban and Yeah! are founders of Gardu House.

Hammad Nasar is the Head of Research and Programmes at the Asia Art Archive in Hong Kong. Primarily London based, Nasar is a curator and a writer, and co-founded the Green Cardamom organisation, which is informed by artistic practice in Pakistan, South and West Asia and beyond. Lines of Control is an ongoing exhibition project that explores the conceptualisation of nationhood.

Hariyadi is a lecturer in sociology at his almer mater, General Soedirman University, and recently completed his doctoral dissertation at the University of Western Australia. His recent academic work has focussed on Islam in popular culture and film in Indonesia, examining the role of these texts in producing political identity. Hariyadi was selected to participate in the Equator Workshop in August 2014.

Hendra Himawan is a graduate of the Indonesian Arts Institute and an independent curator, researcher and writer. He is also active in theatre, performance and mural art in Yogyakarta, and he recently represented Indonesia in a regional project addressing relational aesthetics and particiaptory practices.

Hendro Wiyanto is a respected writer, curator and advocate for the arts in Indonesia and abroad. He sits on the board of the Langgeng Art Foundation.

Hilmar Farid is a historian who has spent much of his career establishing organisations and mechanisms to promote greater understanding and open discussion of Indonesian history, and its role in shaping contemporary Indonesian society and culture. Farid is actively involved in regional and international networks that link history, socio-cultural and political studies to praxis in social life.

(Inyiak) Ridwan Muzir is an academic, author and translator. He has an abiding interest popular culture texts and their relationship to the individual’s political, religious, social an personal expressions. Inyiak was selected to participate in the Equator Workshop in August 2014.

Jaaga is a collaborative, creative organisation that brings together different communities in Bangalore. Through training and networking they are helping shape the development of Bangalore in a way that benefits the city’s own residents. Archana Prasad is an an artist and founder-director of Jagaa. Her work addresses art, technology and urban communities using design and research methodologies.

Jatiwangi art Factory (JaF) is situated in semirural West Java, operating alongside a rooftile factory. This collective of creative thinkers runs festivals and art towards a better future for residents of Jatiwangi. Arief Yudi Rahman trained and worked in visual arts in Bandung and Jakarta before returning to help with the family business and founding JAF.

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KawalPemilu.org is an initiave that escorts the counting of Indonesian presidential election in 2014.

Kusen Alipah Hadi is an actor, writer and a researcher in the field of social anthropology.

He runs the the Umar Kayam Foundation.

Kampung Halaman was founded in 2006 and operates in many part of Indonesia.

As a non-government organisation they use participatory photography and video projects to support children and teenagers in communities that are experiencing a rapid transition to modernity. Dian Herdiany is one of the founders of Kampung Halaman in 2006 and remains a participatory education project facilitator.

Lian Gogali is the founder of the Mosintuwu School for Girls in Poso, Sulawesi, a project which aims to empwer women to act as peacemakers in a region which has suffered a great deal of Conflict. Gogali designs educational processes which separate religion and conflict, and create space for a new narrative for Poso.

Mahardika Yudha is the Coordinator of Research Development at Forum Lenteng Jakarta, a collective of new media artists;he is also a member of ruangrupa; and the Art Director for the 2013 OK Video Festival. As an artist he works with new media and has been involved in many international exhibitions.

Mahatmanto is a lecturer in the Architecture Department at Duta Wacana Christian University, with a particular interest in theory and history in architecture.

Nirwan Ahmad Arsuka is an editor and a writer who has been widely published, especially in Kompas, and he served on the curatorial board of the Bentara Budaya in Jakarta. Over 2012 and 2013 he rode

horseback through various part of the equatorial archipelago, tracing the routes of equestrian culture in different parts of Indonesia.

Pitra Hutomo is a technician and archivist at the Indonesian Visual Arts Archive. Her achievements there have included initiating the internationally recognised IVAA online archive, which provides scholars around the world with on-line access to archival documentation of Indonesian art and artists.

Pitra also works with artists in Yogyakarta to realise digital-based art projects.

Rudolf Mrazek is an expert in modern Southeast Asian history, specialising in Indonesia. In 2010 he published A Certain Age: Colonial Jakarta through the Memories of Its Intellectuals, drawing on a wealth of interviews with elderly intellectuals, whose imperfect recollections of youth provide an insight into how people lived, thought and constructed meaning throughout the twilight of colonial Jakarta.

Riksa Afiaty works with ruangrupa investigating street art culture, and is particularly interested in research based arts projects. In 2013 Afiaty was a resident researcher at Cemeti Art House, where she investigated the development of graffiti and street art scenes in recent decades in Indonesia, through interviews and archival documentation.

Rony Gunawan Sunaryo is a lecturer in the Architecture Department at Petra Christian University, where his interests include urban planning and history, as well as the history of architecture. He brings this together in his research into urban landscapes in Indonesia’s colonial history. Gunawan was selected to participate in the Equator Workshop in August 2014.

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Sazkia Noor Anggraini is an assistant lecturer in the Faculty of Recorded Media Art, Indonesian Insitute of Art. She has studied anthropology and film, and her recent work has focussed on the relationship between identity politics and colonial discourse in films from the Dutch East Indies. Anggraini was selected to participate in the Equator Workshop in August 2014.

St. Sunardi has penned many publications on art, culture and society in the Indonesian and global contexts. He lectures post-graduate students in aesthetics and performance studies at Sanata Dharma University and Gadjah Mada University, and advises many Indonesian arts organisations on their strategic an philosophical approaches.

Stanislaus Yangni has worked as a journalist, writer and editor. She is the author of Dari Khaos ke Khaosmos: Estetika Seni Rupa (From Chaos to the Chaosmos: the Aesthetics of Visual Art) . She has a special interest in exploring the notion of an Indonesian aesthetic through past and present practice.

Yangni was selected to participate in the Equator Workshop in August 2014.

Suka Hardjana is an award-winning classical musician and long-time music lecturer in Germany and Indonesia. In 1979 he established ‘Composer Week’, which has held twelve iterations since. Hardjana is an active 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.

Sustriana Saragih is a lecturer in psychology and is currently undertaking her masters degree in clinical practice. She has worked as a counsellor and advocate for women children involved in domestic violence, and has researched strategies developed by the government to equip families and communities to deal with mental health issues.

Based in Yogyakarta, Tetangga Jokowi-JK, ID (the “Neighbours of Jokowi-JK”) movement brought together hundreds of artists to declare their support for the Jokowi - Jusuf Kalla candidacy in the 2014 presidential elections. The organisation represented an non-party based group, their manifesto declaring their opposition to the potential re-emergence of the pre-reformasi oligarchy, and their desire for a reformist-minded leader into the future.

Yulius Pratomo gained his masters degree at the Crawford School, Australian National University in 2010. He has published widely on economic issues, including export, inflation, investment and ‘citizen honesty.

Yulius’ research interests include uneven growth and the archipelagic economy, and he teaches macroeconomics, international economics and development economics at the Satya Wacana Christian University. He participated in the 2014 Equator Workshop.

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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.

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The Equator Symposium wants to be bridge between as many ‘local geniuses’ as possible from around the equator. Small occurences here and there are the triggers for various changes, the existence of which should be collected and vocalised in order to continuously refresh our thinking and inspire us. Their ingenuity in facing their respective national complexities along the equator is what the Equator Symposium is interested in. We believe that together we can give the world a reason to change!

Through the Equator Symposium, YBY positions itself as the connecting agent and also the point of dissemination for the latest ideas, developments and growth from all the countries in the equatorial region. Anything connected to the creation of discourse around the equator is still open for negotiation.

The Equator Symposium is based on the spirit of organisation in the speech of Indonesia’s first president, Sukarno, when he opened the Asia-Africa Conference, 18 April 1955.

“What can we do? We can do much! We can inject diverse reasoning into the world’s business. We can move all the spiritual, moral and political strength of Asia and Africa for peace!” What occured subsequently in post-reform Indonesia is often simplified as a “change deficit” (to borrow a phrase from Dr. ST Sunardi). With regards to this, we feel we need to inspire ourselves, the people around us, and also Indonesian society in general, to realise that change can happen.

We can implement change.

What is interesting from YBY’s previous official explanation, is that the choice of region and political agenda echoes socio-culturalpolitical issues that have brought Indonesia to an important position on the map of interregional relations, as well as prestige in the journey of modern Indonesia. YBY’s initiative and working agenda is also an echo from the past, from a meeting of “the nations of the

Equator”, in the middle of the 20th century, with Indonesia as one of the main initiators, as well as the host.

This brief essay will exploit this historical event as the starting point that connects nations within the Equatorial belt - between 23.27° NL and 23.27° SL – who formed the largest proportion of the 29 nations (newly independent, former colonies of Western powers) that attended the Asia Africa Conference (KAA) in Bandung, 1955.1 Furthermore, if we accept that the NonAligned Movement was an outcome of the Asia Africa Conference, then almost all the nations that have already or will in future become colleagues of the Jogja Biennale, can also be regarded as members of the NonAligned Movement.2 I am of the opinion that lessons from–and reflections on–the Asia Africa Conference might provide stock for us to further understand our own problems today, and also a challenge. These efforts will supply us with many points from which to approach the issues and challenges that will be faced by the BJ if it genuinely wishes to pursue a political agenda in the world of global contemporary art.

A number of important footnotes about the Asia Africa Conference will give us a picture of the thinking that developed in the Asian-African nations when their leaders and intellectuals really began to consider their positions and attitudes towards the imperialism that had structured and controlled the hierarchy of relationships between nations after the end of colonialism, at the conclusion of WWII and the beginning of global tensions through the Cold War. In this particular historical context we can understand why Soekarno, the president of Indonesia at that time, in his courageous welcoming speech, clearly identified the Asia Africa Conference as the “first intercontinental conference of coloured peoples in

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the history of mankind!”3 Richard Wright (1908-1960) – a black American writer/journalist/civil rights activist who moved to Paris and became a French citizen – was so enthused as to come to Bandung on his own initiative and expense just to witness the events of the Asia Africa Conference.4 Day in and day out, these crowds would stand in this tropic sun, staring, listening, applauding; it was the first time in their downtrodden lives that they’d seen so many men of their color, race, and nationality arrayed in such aspects of power, their men keeping order, their Asia and their Africa in control of their destinies….5 The YBY is what Wright called ‘an effort to control one’s own destiny’, because it is born forth by a group of contemporary arts practitioners who require a number of particular agreements within the Jogja Biennale in order that it fulfil standards, and can continue to be developed. In that reality it is logical that criticism emerge.

Because of this, the Equator Symposium, is an international forum that is intended to be an arena for the meeting of experts, theorists, practitioners and researchers in various fields.

This is an event for the sharing of information and knowledge, and the exchange of thoughts and opinions as a way of building critical understanding of various contemporary arts practice in their association with social, cultural and political dynamic in the equatorial region.

Hence, the practice and discourse of contemporary arts needs an open, inclusive space that is ready to undertake critical studies in the various relevant disciplines.

The Equator Symposium also functions as an effort to develop networks between the various individuals and institutions that can activate the role of contemporary art

experts and practitioners in Indonesia in an international forum.

Endnotes 1. The 29 nations that participated in the AsiaAfrica conference, Bandung 1955 were: Afghanistan, Indonesia, Pakistan, Burma/ Myanmar, Iran, the Philippines, Cambodia, Iraq, Iran, Saudi Arabia, Ceylon (Sri Lanka), Japan, Sudan, People’s Republic of China, Jordan, Syria, Laos, Thailand, Mesir, Lebanon, Turki, Ethiopia, Liberia, North Vietnam, South Vietnam, Gold Coast, now Ghana, Libya, India, Nepal, Yemen.

2. The Biennale Jogja’s zone of activity in the Equator series is framed byt the northern latitude 23’27” and the southern latitude 23’27”. The YBY introduces Indonesia with: India (2011), Arab Nations (2013), Africa (2015), South America (2017), States in the Pacific Islands and Australia (2019) – Because of the uniqueness of the area, the Jogja Biennale in 2019 will also be know as the ‘Ocean Biennale’ And then in Southeast Asia (2021). The series will then be finalised with the presentation of the Equator conference in 2022.

3. At the time of publication, I have not been able to find the Indonesian language version of the speech printed in the book: Lahirkanlah Asia Baru dan Afrika Baru! Pidato P.J.M. Presiden Soekarno pada pembukaan Konferensi AsiaAfrika (Speeches from P.J.M. President Soekarno at the opening of the Asia Africa Conference) 18 April 1955, (Translated into English by Intojo), Ministry for Foreign Affairs, Jakarta 1955. For my needs in this instance, I have used the English version most widely available on the internet. http://www.bandungspirit.org 4. Notes and commentary on the Asia Africa Conference was published directly in the US in the form of a small book after the conference: Richard Wright, The Color Curtain, A Report on Bandung Conference,

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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.

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WHO IS THE ONE? WHO ARE THE MANY?1 Grace Samboh Program Manager, Equator Symposium

In the Major Indonesian Dictionary, an orang [person] is a “manusia [human] (in a specific sense)”.2 What does this mean? Specific in what way? ‘Person’ is a non-specific third person term. The word “person” is used to indicate a specific human but not necessarily one human, for instance: “Don’t trust a person’s words easily” is an expression with the intent to advise anyone about anyone else. If that sentence was whispered to you by a friend in reference to someone nearby, then it would certainly be accompanied by a denotative indicator, for example: “Don’t trust that person’s words easily.” “Persons” is also a classifier for people, for example: “Five fisherpersons were sailing with two nets.” SK 2014 selected the phrase “the one” – in its title – to underscore the existence of the individual person in the scope of the many.

How far is knowing and/or becoming someone, connected to the gathering of many people? Is there a specific limitation on becoming a gathering of many? Is that limitation geographic? Is it primordial or ideological? Is it religious or gendered? Or what...? This also raises further questions. Are the limitations necessary? Who determines the limitations and why? “The many” is a gathering of people who possess a specific similarity (either living place, neighbourhood, hobby, profession or even time-based

problems like traffic jams, floods, natural disasters, government policies and so on).

There is a word “masyarakat” (society) that may seem more accurate than “the many”, and this should be extrapolated here.3 The connotative meaning of the word “masyarakat” – just like “community,” “group,” and “collective” – actually limits our space to move and explore contemporary possibilities for more than one person.

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 anthropology, ‘groups’ in sociology and ‘collectives’ in art.

Bear with this explanation based on the Indonesian language. We have in fact chosen to take this approach on the basis of our national language because, in all cases, language is a tool for communication between human beings, based on the consensus of users. So, although words are arbitrary signifiers, if they continue to be used, it follows that they represent life in the place where that language is used. Yet everywhere, language is frequently regarded as trivial. Nonetheless, with language we can have money, property, government, marriage and other social institutions; conversely, without language, we can have none of these. 4 In many of his papers, Prof. Sudjoko quotes the dictionary, because he regarded it as a “artless an unpretentious” source.5 ES 2014 wants to rekindle the enthusiasm of the former professor in the Faculty of Art and Design, Institute of Technology Bandung for the accurate and creative use of the Indonesian language. “To speak a language is ordinary, so eventually it [language] will become ordinary too,” said Prof. Sudjoko, who continues to be supported by the community of Indonesian language devotees.6

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ES 2014 wants us all to be critical of these dynamics, which continue because we are all thinking creatures. What occurs in the structure of our collective imagination? Why do many people think the same way about the same things, in a form and manifestation that is the same? Thinking critically begins with questioning things that seem obvious.

When the tag #ShameOnYouSBY disappeared from Twitter, for example, Tifatul Sembiring was immediately accused of being involved.

However, it is clear that Twitter determines trending topics with algorithm based on what you follow and your location. This algorithm calculates topics which are popular over a short time, rather than those that have been popular for some time or become routine.7 We must know the ‘rules of the game’ in advance so that we can think critically. This is the habit that ES wants to awaken in us all.

In the globalised world with the speed of today’s information, do you know someone as an isolated individual? Or as how the many distinguish him? Or as how the person in question identifies himself as being a part of the many? Who is each individual inside the diverse formations of the many? Does this individual really exist? Perhaps this question is easier to answer of we blame the “national identity” that the New Order proposed when its logic failed to adhere to the mentality of the nation. Identity obviously belongs to the individual; the concept of national identity becomes an effort towards uniformity and the erasure of independence. Individuals who may become part of the many are by nature independent. Tolerance is the basis of the existence of the many. Without independence a person cannot tolerate others. The basis of tolerance is simple: behave towards others as you would have them behave towards you, do not do to others what you would not have done to you.

Do people merge themselves in the gathering

of the many? Or are the many merged into them? Or do we merge them together?

These questions need no answer because the many do not constitute an organisation, an association, a group or anything that depends on membership. The many are not apolitical, but the many are free from the political value of togetherness, which has many different agendas.

There have been many efforts to institutionalise that which has previously mobilised – and been mobilised by – the many; these efforts come from both state and private interests. We are familiar with the situation where these institutions often end up adrift from what connects the institution to the tempest of the many.

When institutionalised, that which was once ‘something’ withers. Does not the institution begin with the many? Shouldn’t this mean the institutionalised party is fulfilling the needs of the many? Remembering that in many cases institutionalisation fails, there must be a particular and casuistic answer to these last two questions.

ES 2014 intends to discuss the dynamic of social negotiations in current societal lives, as well as the attraction of tendencies to depart from those negotiations. It is no longer important whether these negotiations are something that is ‘bottom up’ or ‘top down’.

It is no longer important who the initiates and whether the intention was obvious or concealed. The dynamic of social movements based on negotiation is all around us and clearly we are within it. Are we aware of it?

Do we know it? What is our role? In more general political terms, we are in the process of questioning the connection between citizens and the state, with a particular emphasis on citizens (of the state).

ES 2014 tries to reveal the ecosystem in the associations of the many (artist groups, societal hobby-based groups, business

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associations, etc) in the arrangement of their lives (city, village, country, and in between all of these). Examining these encounters, either physical or virtual, and how these encounters are then disseminated to many more people is our first step in the effort to uncover the ecosystem of these groups.

Endnotes 1. The One and the Many is in fact the title of Grant Kester’s book on the diverse forms of cooperation in the field of contemporary art. Kester’s thinking does not specifically inform the presentation of the Equator Symposium 2014, apart from the title of the book, which is fairly representative of the principle thinking behind the ES 2014.

The scope of the Equator Symposium encompasses the nations along the equatorial line which divides the earth, so, although we base our thinking in the Indonesian language, we must also consider – at least – the English language.

2. In English, orang is “person” (a human being regarded as an individual) and orang banyak is “people” (human beings in general or considered collectively).

Merriam Webster Dictionary Version 2.2.1 (156), © 2005-2011 Apple Inc. All Rights Reserved.

3. The Major Indonesian Dictionary describes “masyarakat” (society) as a collection of people in its broadest sense, connected by a culture that they regard as the same.

4. “[...] one reason that traditional accounts of institutions, both in institutional economics and elsewhere, are incomplete is that they 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,

but you cannot have money, property, government, or marriage without language.

What is harder to see is the constitutive role of language in each of these and, indeed, in all social institutions. Language does not just describe a pre-existing institutional reality but is partly constitutive of that reality [...]” — John R. Searle, What is an Institution? in the Journal of Institutional Economics (2005), 1: 1, p. 11-12 5. Prof. Sudjoko, Pada Mulanya adalah Kata….

(In the Beginning There Was the Word…) in the daily newspaper Sinar Harapan, 22 July 1978. (A paper written in English and presented at the International Conference on Art in Bandung, Indonesia, 9-14 July 1978) 6. Prof. Sudjoko Menjelang 50 Tahun Indonesia Merdeka: “Hoodlums”, Bahasa dan Kekanak-kanakan (Sudjoko advances to 50 Years of Indonesian Independence: “Buaya Darat” Language and its Childishness) in the daily Kompas, 5 April 1995.

7. “Trends are determined by an algorithm and, by default, are tailored for you based on who you follow and your location.

This algorithm identifies topics that are immediately popular, rather than topics that have been popular for a while or on a daily basis, to help you discover the hottest emerging topics of discussion on Twitter that matter most to you.” From https:// support.twitter.com/groups/50-welcometo-twitter/topics/203-faqs/articles/101125faqs-about-trends-on-twitter (accessed 6 October 2014, 14:37 WIB)

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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)

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The Biennale Jogja Equator series: 2011 – 2021 In 2010 YBY organised and launched the BJ project as a series of exhibitions, with a long term agenda that will continue until 2022.

In the midst of the dynamics of an energetic global art realm – apparently inclusive and egalitarian – the heirachy between the center and the margins is still very real. Because of this, the need to intervene has become even more urgent. YBY imagines a united platform that is able to refute, interrupt or at least provoke the dominance of the centre, and raise alternatives through the diverse contemporary art practices and perspectives of Indonesia.

Initiated in 2011, YBY runs BJ as a series 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.

Why the ‘Equator’?

The concept of the ‘Equator’ is not only an imagining of a kind of frame that encompasses similarity, but also as a departure point for embodying the diversity of cultures in contemporary global society.

The ‘Equator’ is a joint vehicle for ‘re-reading’ the world.

These encounters through art activity in the BJ Equator will be presented through the spirit of building a sustainable network, then dialogue, collaboration, and partnerships that can generate new collaborations, wider and more continuous, amongst practitioners in the Equatorial region. Thus the BJ can contribute to the topography of the global art world as it is being newly reformulated.

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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 available and can be contacted on the numbers below. However it is advisable 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.

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 stops as indicated on the map.

Pandawa Taxi: +62 274 4370000 Pataga Taxi: +62 274 4384384 Asa Taxi: +62 274 545545 Centris Taxi: +62 274 544977 Tambayo Taxi: +62 274 6998000

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KEY LOCATIONS FOR THE LAUNCH OF THE EQUATOR SYMPOSIUM SEMINARS AND PRESENTATIONS SEKOLAH PASCASARJANA GEDUNG LENGKUNG (5TH FLOOR) GADJAH MADA UNIVERSITY, YOGYAKARTA Jl. Teknika Utara, Pogung, Sleman, Yogyakarta, Indonesia +61 274 544975, 555881, 564239 Email : sps@ugm.ac.id

SCREENINGS AMPHITHEATER TAMAN BUDAYA YOGYAKARTA Jalan Sriwedani No.1,Yogyakarta, Indonesia Phone: +62 274 523152

To travel between locations, you may take a taxi. (If you are heading towards UGM from the south these instructions may help your driver: Tolong ambil rute lewat Jalan Cik Di Tiro dan Jalan Kaliurang; belok kiri di pojok Fakultas Kehutanan, Jalan Kaliurang.

Lokasi Gedung Pasca Sarjana UGM sebelah kanan jalan itu, sekitar 400 meter dari Jalan Kaliurang.)

If you prefer to take public transport, the 3B 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 line, the bus stop is about 400 metres along the road on the left. Make sure to tell the conductor your stop is on Jalan Teknik Utara in UGM. From the bus stop walk east back towards the roundabout and continue on until you reach the Gedung Pascasarjana on your right.

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COLOPHON: Equator Symposium 2014 17 – 18 November 2014 Gedung Lengkung, Sekolah Pascasarjana, Universitas Gadjah Mada Amphitheater, Taman Budaya Yogyakarta Equator Workshop 29 – 30 August 2014 SaRang Building, Yogyakarta Open Call for Essays 14 August – 13 September 2014 Organiser: Yayasan Biennale Yogyakarta Co-Organisers: Provincial Office for Culture, Yogyakarta Special District Performing Arts and Visual Arts Study Program, School of Postgraduate Studies, Gadjah Mada University Thanks to: Sultan Hamengkubuwono X, Governor of the Yogyakarta Special District (DIY) The Head of the Office of Culture, DIY Head of Taman Budaya DIY Director of the Postgraduate School, UGM Chair of the PSPSR Study Program, Postgraduate School, Gadjah Mada University SaRang Building ST Sunardi Martin Suryajaya Frangky Hari Budiman Hilmar Farid Sastha Sunu Asmudjo Jono Irianto Agung Kurniawan Natasha Sidharta Marco Kusumawijaya Hafiz Rancajale Helmi Hardian Maria Hidayatun Martha Nandari Arief Sadjiarto Ahmad Anfasul Marom Eko Prawoto Maria Adriani Minimi Studio Idaman Andarmosoko Indonesian Visual Art Archive 9m 15s Goethe Institut & Science Film Festival Lifepatch, Hackteria, X-Code Films Teater Garasi/Garasi Performance Intitute Art Merdeka All our contributors and participants

Working Team: Project Officer: Enin Supriyanto Program Manager: Grace Samboh Operational Manager: Ratna Mufida Intern: Elly Kent Registration and Finance: Alief Nurunnahdliyah Liaison Officer Venue: Michael Raditya Field Co-ordinator: Arya Batista Presentation Director: Theodorus Christanto (9m 15s) Technical Co-ordinator: Sakti Eko Kurniawan (Art Merdeka) Photographic Documentation: Indra Arista Ramadhan, Sapto Agus Video Documentation: Dwe Rahmanto (Indonesian Visual Art Archive) Graphic Designer: Anang Saptoto Seminar Kit: Yohanna Titis Consumption: Sri Ningrum Hospitality: Antonius Fajar Riyanto, Julia Tetuko, Gisella Swaragita Volunteers: Dini Caraka Pakarti, Hendra Setiawan, Eri Kisworo, Ayu Rahayu, Novia Nur Kartikasari, Swastika Dhesti Anggriani, Agustinus Sani, Lintang Arum Ndalu, Albert, Elis Yuliani, Latifa Dewi Hapsari, Ananditya Gustiani, Agni Saraswati

CONTACT:

Equator Symposium Yayasan Biennale Yogyakarta Taman Budaya Yogyakarta Jl. Sriwedani 1, Yogyakarta, Indonesia P: +62 274 587712 E: reach@equatorsymposium.org www.equatorsymposium.org