7 Desember 2016
22 Januari 2017
Agugn Prabowo (ID)Alice Couttoupes (AU)Ane Fabricus Christiansen (DK)Angie Seah (SG) Antonella Cimatti (IT)Arya Pandjalu (ID)Awangko Hamdan (MY)Clare Twomey (UK)Danijela Pivašević-Tenner (RS/DE)Diego Akel (BR)Eddie Hara (ID/CH)Eddie Prabandono (ID)Elodie Alexandre (FR/IN) Eva Larsson (SE)Geng Xue (CN)Gita Winata (ID)Heri Dono (ID)He Wenjue (CN)Joris Link (NL)Jose Luis Singson (PH)Joseph Hopkinson (WL / UK)Kawayan De Guia (PH)Kyoko Uchida (JP)Kyungwon Baek (KR)Ljubica Jocic Kneževic (RS)Maria Volokhova (UA/DE)Masha Ru (RU/NL) and Dina Roussou (GR/NL)Mohamad Rizal Salleh (MY) Nadya Savitri (ID)Nao Matsunaga (JP/UK)Panca DZ (ID)Pei-Hsuan Wang (TW)Richard Streitmatter-Tran (VN)Ryota Shioya (JP)Sarah O’Sulivan (AU)Soe Yu Nwe (MM)Takashi Hinoda (JP)Teri Frame (US)Thomas Quayle (AU)Tomoko Sakumoto (JP)Uji ‘Hahan’ Handoko (ID)
Jalan Lempung: JCCB-4
The 4 th Jakarta Contemporary Ceramics Biennale ( JCCB-4), melalui tema “Ways Of Clay: Perspectives Toward the Future” akan menafsirkan sejarah sebagai perspektif dalam memahami praktik seni keramik ke depan. Sejarah dalam konteks JCCB-4 bukan hanya sejarah seni keramik sebagai sebuah disiplin, melainkan dipahami juga sebagai sejarah penggunaan material lempung dan media keramik dalam praktik seni rupa. Dengan kata lain, lempung dan keramik dipisahkan terlebih dahulu dari beban kategoris dirinya. Kenyataan historis menunjukkan penggunaan material lempung dan media keramik tidak bisa dibatasi oleh pengelompokkan kategoris objek estetik yang dibentuk pada masa seni modern. Bahkan, hingga kini lempung dan keramik selalu menarik perhatian perupa dari berbagai latar belakang. Warisan sejarah ini lah yang menjadi premis JCCB untuk selalu melibatkan peserta dari latar belakang bukan pekeramik. “Ways Of Clay: Perspectives Toward the Future” hendak memahami hubungan antara gagasan seniman dan cara ekspresi, di mana perspektif terhadap material dan media mempengaruhi proses kreasi serta apresiasi sebuah praktik seni. “Status” merupakan gambaran kondisi dan keadaan praktik seni keramik, namun serta-merta mengandung pengertian politis ketika dihadapkan dalam lingkup sejarah, teori, dan wacana seni rupa. Menariknya, praktik seni keramik sejak awal mengandung aspek paradoks dalam berbagai level pemahaman sebagai material, media, dan objek. Seperti ephemeral-permanen antara lempung-keramik; rural-kosmopolit antara kerajinan keramik dan desain keramik; atau eksklusifitas-massal antara karya kriya dan produk pabrik. Paradoks inilah yang menyebabkan praktik seni keramik selalu berada dalam kondisi yang tidak stabil, namun juga fleksibel dan mengandung mobilitas. Secara kontinum, perubahan dan paradoks tersebut telah menjadi bagian dari kesadaran seniman keramik hingga hari ini. Menariknya, justru sifat paradoks ini yang menyebabkan praktik seni keramik bertahan dan menjadi bagian dari zeitgeist seni itu sendiri. Kini ketika seni didominasi oleh media berbasis digital, di satu sisi praktik seni keramik menjadi bagian dengan memanfaatkan kemungkinan teknologi sebagai bagian dari ekspresi seni. Namun di sisi lain ia menjadi antitesis dunia virtual, ketika lempung kini makin dipahami sebagai material experiential, maka praktik seni keramik adalah pengalaman tentang materialitas yang menawarkan jalan untuk kembali ke realitas.
Eddie Hara, 2016
Residensi JCCB-4 Penyelenggaraan JCCB-4 yang akan diselenggarakan pada 7 Desember 2016 hingga 22 Januari 2017 di Galeri Nasional-Jakarta, sangatlah berbeda. Karena dalam persiapannya dimulai dengan residensi para seniman di beberapa lokasi di kota Bandung, pulau Bali , Yogyakarta, Semarang dan Majalengka. Mereka masing-masing selama satu bulan berinteraksi dengan situasi lokal; baik secara sosial maupun secara kultural. Ada 20 seniman, terdiri dari seniman internasional, maupun seniman nasional, akan bekerja di lokasi-lokasi tersebut. Mulai dari desa kerajinan keramik, studio seniman, sekolah keramik hingga keramik industri. JCCB-4 berkolaborasi dengan para tuan rumah residensi (host) yang mendukung kesuksesan program residensi. Program residensi ini menjadi dasar yang akan dikembangkan untuk penyelenggaraan JCCB ke depan. Ada beberapa hal yang mendasari, antara lain: bahwa suatu bienal internasional seharusnya akan menjadi lebih menarik jika ada suatu bentuk interaksi antara seniman dengan komunitas di mana seniman itu berada dalam satu lokasi. Kedua, karya-karya yang diproduksi selama residensi lebih terasa kaitannya antara seniman dengan di mana mereka ditempatkan. Mengaktifasi dan membentuk ekologi seni keramik dengan melibatkan berbagai lembaga pendidikan menengah, perguruan tinggi seni, studio keramik individual, industri keramik , kerajinan maupun komunitas. Lokasi dan tempat residensi: Bandung; FSRD-ITB, ISBI-Bandung, Kandura-Studio, Ahadiat Joedawinata Studio, SMKN 14 (SMSR). Majalengka; Jatiwangi Art Factory ( JAF). Yogyakarta; Timboel Rahardjo Studio-Kasongan, Arskala Prinsciple Studio. Semarang; Sango Ceramics. Bali; Jenggala Ceramics, Agung Ivan Studio, Tanteri Ceramics. Seniman Residensi: Angie Seah (SG)Arya Pandjalu (Id)Awangko Hamdan (MY)Danijela Pivašević-Tenner (RS/DE)Eddie Hara (ID/CH)Elodie Alexandre (FR/IN)He Wenjue (CN)Joris Link (NL)Jose Luis Singson (PH)Joseph Hopkinson (WLS / UK)Kawayan De Guia (PH)Ljubica Jocic Kneževic (RS)Maria Volokhova (UA/DE)Nao Matsunaga ( JP/UK)Pei-Hsuan Wang (TW)Richard Streitmatter-Tran (VN)Ryota Shioya ( JP)Soe Yu Nwe (MM)Thomas Quayle (AU)Uji ‘Hahan’ Handoko (ID)
JCCB-4 dan Biennale Keramik Dunia
Perbedaan yang mendasar antara JCCB dan pameran keramik internasional lainnya adalah keterlibatan peserta non-keramikus. Hampir semua pameran-pameran internasional keramik berkala diikuti, atau memang diperuntukkan bagi pekeramik. Di negara-negara yang medan seninya telah mapan, masing-masing wilayah yang ada dalam seni rupa yaitu fine art, craft and design memiliki infrastruktur tersendiri. Mulai dari sistem pendidikan, museum, galeri, sampai publikasi, berjalan dan berdiri sendiri. Dari perspektif ini, berbagai perhelatan yang dipaparkan di atas bisa dipahami sebagai bagian dari sistem dalam sebuah medan seni. Semisal di Jepang, medan seni keramik merupakan entitas yang menyanggah sistem produksi-mediasi-konsumsi dari praktik seni keramik di sana. Pameran internasional dengan format call for entries merupakan sistem yang juga berfungsi sebagai alat ukur, pencapaian, dan bentuk pengakuan terhadap karir seorang seniman. Pada titik tertentu hampir tidak terjadi “persinggungan” antara medan seni keramik dengan medan seni rupa modern dan medan seni rupa kontemporer. Terpisahnya secara spesifik medan-medan seni merupakan bagian dari kecenderungan “spesialisasi” dalam disiplin dan keprofesian seni rupa pada masa modern. Namun pada kenyataanya, penggunaan media lempung dan keramik ternyata tidak bisa dibatasi hanya untuk para keramikus dan seniman keramik. Bahkan sejak awal seni modern, secara natural banyak seniman dari wilayah fine art yang menggunakan media keramik dalam karya-karya mereka. Sehingga muncul lah sebutan “visitor” dari kalangan medan seni keramik, terhadap seniman-seniman tersebut. Seorang seniman disebut “visitor”, kecuali jika karya-karya keramiknya dianggap signifikan dalam konteks kekaryaan mereka, atau dalam tingkat tertentu merepresentasikan pemahaman terhadap problem teknis dan estetika dari keramik itu sendiri. Dalam hal ini Pablo Picasso dan Lucio Fontana merupakan contoh seniman yang telah dianggap sebagai “resident”. Pemisahan semacam ini pada masa seni rupa kontemporer mulai ditinggalkan. Meneruskan pendahulunya para seniman modern, seniman-seniman kontemporer tetap saja tanpa hambatan menggunakan media lempung dan keramik. Lempung tetaplah salah satu media yang menawarkan berbagai kemungkinan intensi artistik. Hal ini tergambarkan melalui Biennial of Ceramics in Contemporary Art yang diselenggarakan pertama kali tahun 2001. Bienal ini mengundang seniman kontemporer dan desainer untuk membuat karya di pabrik keramik di daerah Albisola, Italia.
Kota ini merupakan lokasi di mana Lucio Fontana menghasilkan karya-karya keramiknya. Formatnya adalah kolaborasi antara seniman dan desainer dengan craftsmen. Bienal ini seperti mengadopsi pendekatan yang dilakukan seniman-seniman modern di mana mereka berperan sebagai inisiator dalam proses berkarya. Kemunculan seni rupa kontemporer, bukan hanya merubah wajah dan cara berkesenian, namun juga membuka berbagai kemungkinan pembacaan terhadap praktik-praktik seni rupa. Artinya pendekatan dalam kurasi pameran pun menjadi lebih terbuka dan menantang. Sejak tahun 1990-an muncul pameran-pameran yang bertujuan merayakan dan membaca keberadaan material lempung dan keramik dalam praktik seni rupa. Pameran-pameran tersebut melibatkan baik seniman keramik, maupun seniman modern dan kontemporer. Beberapa pameran tersebut adalah The Raw and The Cooked: New Work in Clay in Britain (London, 1993), A Secret History of Clay: From Gauguin to Gormley (Liverpool, 2004), The Unexpected From Picasso to Penck, Appel to Koons (Hertogenbosch, 2009), Doki-doki, The Magic of Ceramics-Artistic Inspiration (Shigaraki, 2012), Back to Earth. From Picasso to Ai Weiwei-Rediscovery of Ceramics in Art (Neumünster, 2013), dan Ceramix: Ceramics in Art from Rodin to Schütte (Maastricht, 2015). JCCB yang terbuka terhadap non-seniman keramik, membawa semangat yang sama dengan pameran-pameran tersebut di atas. Namun seperti yang diungkapkan oleh Asmudjo, bisa jadi faktor yang paling mempengaruhi cara pandang JCCB tersebut adalah kondisi medan seni rupa Indonesia itu sendiri yang memang menempatkan seni keramik sebagai bagian dari fine art. Dari situ sebenarnya JCCB telah meletakkan platform dasar yang membedakannya dengan bienal keramik lainnya, dan sekaligus menunjukkan relevansi konteks masa kemunculannya. Kata kunci dalam memahami JCCB adalah sifat inklusif dan ekspansif. Inklusif dalam pengertian terbuka dan selalu melibatkan bukan hanya seniman keramik, serta ekspansif dalam pengertian mendorong baik terobosan-terobosan artistik maupun peluang penafsiran terhadap media dan pengertian keramik itu sendiri.
Seniman (Non Residency): Agugn Prabowo (ID)Alice Couttoupes (AU)Ane Fabricus Christiansen (DK)Antonella Cimatti (IT)Clare Twomey (UK)Diego Akel (BR)Eddie Prabandono (ID)Eva Larsson (SE)Geng Xue (CN)Gita Winata (ID)Heri Dono (ID)Kyoko Uchida ( JP)Kyungwon Baek (KR)Masha Ru (RU/NL) and Dina Roussou (GR/NL)Mohamad Rizal Salleh (MY)Nadya Savitri (ID)Panca DZ (ID)Sarah O’Sulivan (AU)Takashi Hinoda ( JP)Teri Frame (US)Tomoko Sakumoto ( JP)
Ways of Clay: JCCB-4
With the theme “Ways of Clay: Perspectives Toward the Future”, JCCB-4 aims to interpret history as a perspective that we can use to understand future ceramic art practices. JCCB doesn’t look at history merely in a scholarly context of ceramic art history as a discipline. Rather, the biennale hopes to look at the history of clay and ceramic media usage within the wider art practice. In other words, clay and ceramics will be placed in a context separate from their categorical boundaries (or burdens). The reality of history demonstrates the fact that clay and ceramic-based media cannot be confined within aesthetic categories as formulated by modern art. Furthermore, clay and ceramic media continue to draw the attention of artists from diverse backgrounds and practice. This historical legacy becomes JCCB’s main motivation to continue to invite the involvement of artists from diverse backgrounds. “Ways of Clay: Perspectives Toward the Future” tries to understand the connection between the artist’s ideas/concepts and the various ways of [artistic] expressions, where the artist’s individual perspective toward material and media defines or influences his or her creative process and appreciation. “Status” describes the condition and state of ceramic art practice, while also reflecting a political meaning, especially in the context of art history, theory, and discourse. Interestingly, ceramic art practice has always embodied a paradox on many levels—either as material, media or object. For instance, the ephemeral-permanent paradox of clay and ceramics; the rural-cosmopolitan between ceramic craft and ceramic design; exclusivity vs. mass production between hand- or traditional-craft and industrial products. These paradoxical instances have positioned ceramic art practice in an unstable position; but they have also afforded ceramic art with flexibility and mobility. Within a continuum, then, these changes and paradoxical instances have become part of the ceramic artist’s awareness. Interestingly, these paradoxes have also allowed ceramic art practice to sustain itself robustly, even becoming part of the art zeitgeist itself. Today, when art is dominated by digital media, ceramic art practice has, on the one hand, become part of this digital phenomenon by utilizing the various technological possibilities as part of its artistic expression. On the other hand, it has also become the antithesis of the digital world; it is becoming even more recognized as an experiential material. Ceramic art practice has become an experience about materiality, which offers a way back to reality.
The 4th JCCB Artists in Residence
The 4th JCCB is unlike previous editions of JCCB, because it begins with an extensive artists-in-residence program, held simultaneously at several locations. Artists spend one month interacting with local situations, both socially and culturally. From August to November 2016, a total of 20 artists, from Indonesia and abroad, work in diverse settings in various cities across Indonesia. Some artists work in ceramics villages, while others hone their creative skills at artists’ studios, ceramic schools, as well as ceramics factories. JCCB-4 works closely with residency hosts to accommodate the artists as best as possible.This year’s residency program informs future JCCB events. We have learned valuable lessons, among which: that an international-scale biennial becomes more interesting if it can nurture positive interactions between the artists’ and local communities. Secondly, residency-inspired works provide a stronger sense of connection between the artists and their local communities. Thirdly, this model can help activate and enrich the ceramic art ecology by connecting artists with art education institutions, individual ceramics studios, industrial-scale ceramics factories, traditional ceramics producers, and ceramics community.
Location and Host of Residency: Bandung; FSRD-ITB, ISBI-Bandung, Kandura-Studio, Ahadiat Joedawinata Studio, SMKN 14 (SMSR). Majalengka: Jatiwangi Art Factory ( JAF). Yogyakarta: Timboel Rahardjo Studio-Kasongan, Arskala Prinsciple Studio. Semarang: Sango Ceramics. Bali: Jenggala Ceramics, Agung Ivan Studio, Tanteri Ceramics. Artists in Residence: Angie Seah (SG) - Arya Pandjalu (ID) - Awangko Hamdan (MY) Danijela Pivašević-Tenner (RS/DE) - Eddie Hara (ID/CH) - Elodie Alexandre (FR/IN) - He Wenjue (CN) - Joris Link (NL) - Jose Luis Singson (PH) - Joseph Hopkinson (WLS / UK) - Kawayan De Guia (PH) - Ljubica Jocic Kneževic (RS) - Maria Volokhova (UA/DE) Nao Matsunaga ( JP/UK) - Pei-Hsuan Wang (TW) - Richard Streitmatter-Tran (VN) - Ryota Shioya ( JP) - Soe Yu Nwe (MM) Thomas Quayle (AU) - Uji ‘Hahan’ Handoko (ID)
JCCB-4 Among Ceramic Biennales in the World
One of the most fundamental differences between JCCB and other international ceramics exhibitions lies in the involvement of non-ceramists. Almost all periodic international-scale ceramics exhibition are organized to showcase, exclusively, works by ceramists or ceramic artists. In countries with a well-defined art landscape, the fields of fine art, craft, and design have their own infrastructures. They have their own educational pathways, museums, galleries, and even publications—one field is exclusive from the other. From this perspective, then, the various infrastructures above can be seen as part of a unique system within the wider art landscape. For instance, in Japan, the ceramics landscape is an entity that supports the chain of ceramics production-mediation-consumption embodied in ceramic art practice. An international exhibition using a call-for-entries format can then be seen as a way to measure, evaluate, and show appreciation to an artist’s career. Up to a certain point, there seems to be little “overlap” between ceramic art and modern- or contemporary- art. This specific delineation of different art branches is due to “specialization”, which was rigorously exercised during the Modern Art period, across disciplines and professions. In reality, however, the use of clay and ceramic materials is never exclusive to ceramists and ceramic artists. From the beginning, fine art practitioners have used ceramics as a media of expression. This even led to the term “visitors” to refer to non-ceramists working with ceramic media, with the exception of those whose ceramic works show significant contextual standing within their oeuvre or those whose works represent a certain level of understanding toward the technical and aesthetical problems of ceramics itself. Thus, the likes of Pablo Picasso and Lucio Fontana can be seen as great examples of non-ceramists who have gained “resident” status in the field of ceramics. Contemporary art praxis, however, has little need for such delineation. As their modern-art predecessors did, contemporary artists work uninhibitedly with clay and ceramics. Clay remains a media that flexibly molds itself to diverse artistic intentions. This can be clearly seen, for instance, at the Biennial of Ceramics in Contemporary Art, first held in 2001. This biennial event invites contemporary artists and designers to work at ceramic factories in the Albisola region of Italy. This is the city favored by Lucio Fontana to create his ceramic works. The format of this biennial encourages the collaboration between artists or designers and craftsworkers. Events like this adopt an approach that puts the artists as initiators in the creative process.
The emergence of contemporary art did not only change the face and practice of the arts. Rather, it opened up a trove of possibilities on how we read or understand art practices. This meant that curatorial practices have become more open and challenging, as well. Since the 1990s, many exhibitions have been organized to celebrate, or to understand, the position of clay and ceramics within the larger art praxis. These exhibitions enjoy the involvement of ceramic artists, but also modern and contemporary artists in general. For instance: The Raw and The Cooked: New Work in Clay in Britain (London, 1993), A Secret History of Clay: From Gauguin to Gormley (Liverpool, 2004), The Unexpected From Picasso to Penck, Appel to Koons (Hertogenbosch, 2009), Doki-doki, The Magic of Ceramics-Artistic Inspiration (Shigaraki, 2012), Back to Earth. From Picasso to Ai Weiwei-Rediscovery of Ceramics in Art (Neumünster, 2013), and Ceramix: Ceramics in Art from Rodin to Schütte (Maastricht, 2015). JCCB is an event that opens its doors to non-ceramic artists. It carries the same spirit as the abovementioned exhibitions. However, as expressed by Asmudjo, perhaps the greater influence behind the JCCB creed is the Indonesian art landscape itself, that has placed ceramic art within the fine art locus. In this way, JCCB has unwittingly placed the foundations that help set itself apart from other ceramics biennial, while at the same time, demonstrating the relevance of the context behind its establishment. The keywords that best describe JCCB are “inclusive” and “expansive”. Inclusive in a sense that JCCB will always be open to, and invite the involvement of, artists that are not necessarily ceramists by trade. It is expansive because it supports artistic breakthroughs and explorations of diverse interpretations of ceramics, materially and conceptually.
Exhibition (Non Residency Artists): Agugn Prabowo (ID)Alice Couttoupes (AU)Ane Fabricus Christiansen (DK)Antonella Cimatti (IT)Clare Twomey (UK)Diego Akel (BR)Eddie Prabandono (ID)Eva Larsson (SE)Geng Xue (CN)Gita Winata (ID)Heri Dono (ID)Kyoko Uchida ( JP)Kyungwon Baek (KR)Masha Ru (RU/NL) and Dina Roussou (GR/NL)Mohamad Rizal Salleh (MY)Nadya Savitri (ID)Panca DZ (ID)Sarah O’Sulivan(AU)Takashi Hinoda ( JP) Teri Frame (US)Tomoko Sakumoto ( JP)
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ACHADIAT STUDI O
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Penggagas JCCB : Asmudjo J. Irianto, Rifky Effendy
The 4 th J CC B Direktur : Rifky Effendy. Direktur Artistik: Asmudjo J. Irianto. Kurator : Nurdian Ichsan, Rizki A. Zaelani. Kordinator Residensi: Nia Gautama. Asisten residensi program: Akbar Adhi Satrio (FSRD-ITB), Erik Rifky Prayudhi (ISBI-Bandung), Nadzifa Hidayati, Nesa Pratama, Natas Setiabudhi, Apri Susanto (Yogyakarta). Sekretaris: Andi Nadya Aurora. Keuangan : Tania Kardin. Editor: Yakobus Ari Respati, Axel R. Ridzky. Penerjemah : Henny Roland. Desain Grafis: Satrio Yudho Pratomo, Yosefa Aulia. Kordinator Pameran : Puja Anindita. Fotografi : Tim JCCB-4 dan Aero Visual Studio (Bandung).
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