Choreograph Knowledges at Cemeti Institut for Arts and Society.

CHOREOGRAPHED KNOWLEDGES A project by:

Julia Sarisetiati Curated by:

Grace Samboh 19 January—9 February 2019

INTRODUCTION BIOGRAPHIES

dangerous (working with machineries, at sea, etc.) and at times demeaning

ACKNOWLEDGEMENTS

(due to people’s attitude towards the worker). This means that within the global labour market there is a growing demand for “low skilled workers”.

project on the artist’s and engagement with a majorbuilds in Photography.

Shelong-term is a part research of ruangrupa an artist collective Indonesian migrant that workers.

During aGudskul—an residency atinformal Seoul Art Space based in Jakarta now co-runs educational

Yet,would countries host all migrant have strict for their We like that to thank thoselabourers who supported this limitations project during its period of work and re-entry circumstances.

It is as if nobody wants to take conception, research, preparation and installation phase, in particular: full responsibility for these people’s development as human beings and their advancement a type of workforce. relates this precarious Ary "Sendy" Jimged |as Ratna Mufida (Hyphen —)Sari | Enin Supriyanto (Project

Geumcheon, (2011), SariRecent met fellow Indonesians who were working platform for Korea art practitioners. exhibitions include TACTICS Jakarta abroad, fields (2013); ranging from Urban manufacturing to construction, Biennale,their Indonesia Hacking Reality Series, Copenhagen

position of Asfani Indonesian migrant workers to herself, and| toMarcellina artists andDwi art by 9) | Aji | Dholly Husada | Dindin Rasjidin workers inPutri general.

Kencana | Libby Davitri | Liemena Sapriya Putra | Nissal Nur

agriculture, fisheries, caregiving domestic work.

Starting her own (2016); 11th Gwangju Biennale,and Korea (2016); We’re in this,from together, The skills andContemporary interest in photography videography, wasSamboh). fascinatedIn Factory Art Space, and Saigon (2018, withSari Grace

Afryansah | Handoko Wiyanto | Anton Rais Makoginta | Arham Rahman For this exhibition, Choreographed Knowledges, she focuses one (Galeri Lorong) | Julian Abraham “Togar” | Irindhita “Ayash” Laras on Putri | particular aspect: vocational education, which in the field of migrant labour Ipeh Nur | Pak Yosep | Rudi 'Lampung' Hermawan | Bambang “Toko” translates to trainingAdhijaya centres. |During this past |year, Sari| did into Witjaksono | Yoppie Data Prayogo Tatang RR research Manpower |

Choreographed is a project by artist Sarisetiati at Julia SarisetiatiKnowledges (b. 1981, Jakarta) is an artist and Julia curator based in(Sari) Jakarta.

Cemeti-Institute for Art and and Society, curated Grace Samboh.

She graduated from the Arts Design Facultyby of Trisakti UniversityThe with

with theshe way her new maintained relationships their 2017, curated the friends media art festival OK. Video with awith focus on families food. As and friendsshe using the most up-to-date smartphone technologies.

Sariin a curator, is currently working on RETURNS: Migration Narratives being an active member of ruangrupa, an artists’ initiative in Jakarta, she Southeast and East Asia with Goethe Institute. had to remain in contact and be present in decision making processes by means online conference platforms.

Korea with the same Grace ofSamboh (b. 1984, Jakarta) is Working a curatorin and researcher based passport and common situations manoeuvred them into a sense of between Yogyakarta and Medan, Indonesia. Aside from curating camaraderie.

Since 2015, has publications been working a mobile exhibitions and writing for Sari various bothtowards in Indonesia and application that functions as a community-based resource centre for the abroad, she is a member of Hyphen research collective (hyphen.web.id) Indonesian workforce, be it athose who are working abroad, with whommigrant she is working towards publication about Gerakan Senithose Rupa are about to go abroad and those who have returned.

Baru Indonesia [‘The Indonesian New Art Movement’] (1975-1989). She is furthermore program manager of the Equator Symposium (2012-2022, The uses the term "migrant workforce” (BMI withIndonesian Yogyakartagovernment Biennale Foundation), with the next edition coming up in on Indonesian) to describe Indonesian people working abroad, the majority of this month. sambohgrace.wordpress.com. which is considered low skilled, inadequate and ill equipped for promotion inIn the labour According to statistics offered by the 2018, Gracemarket. and Sari also worked together in the context of Indonesian the Equator government, in 2018, the Biennale country’s Foundation) migrant workforce consisted of 265 Symposium (Yogyakarta and POLLINATION (The million people.

At least two-thirds of this number did not get a higher Factory Contemporary Arts Center & SAM Fund for Art and Ecology).

education, thanpresented half only went to elementary is the Some of while the more artworks in this exhibitionschool. were This previously “baggage” status We’re of “low skilled workforce”. exhibited asthat partgives of thethem grouptheexhibition in this, together at The Meanwhile, developed countries 2018 are facing a huge decline of Factory, Ho many Chi Minh City (14 December -27 January 2019). workforce for jobs that are classified as dirty (cleaners, caregivers, etc.),

Indonesia’s policies| and visited various training Faris Gimbal educational | Teguh Safarizal Restu Ratnaningtyas | Kangcentres Dindin in | Indonesia, where and soon-to-be workers are(SAM equipped Natasha Sidharta Agung migrant Hujatnikajennong Fundwith for the Art skills and they will |need for the industry they (Yayasan will work in, from fisheries to care Ecology) Simposium Khatulistiwa Biennale Yogyakarta) | labourers, from factories to boating.

The title of this exhibition refers on the Yustina Neni (Kedai Kebun Forum) | Gudskul | ruangrupa | Verry

one hand to the practical and social AB skills (“knowledges”) are Agung taught, Handayani | Ferial Afiff | Muhammad | MN Qomaruddin that | Suray acquired| and embodied, the other to the training centres itself: Nugroho Brigitta Isabella |and Ign. on Kendal | Achdiyanto Ilyas, Deden, Tatang, highly staged (Indonesian sets where soon-to-be migrant Union) workers| Bill perform, rehearse Data Prayogo Fisheries Workers Nguyen, Zoe and repeat tasks with the use of props before an audience of fellow Butt, Le Thien Bao, Nhung Le, Nguyen Tuan (the Factory Contemporary

students Theauthors title finally refers to the hand Art Center,(“choreographed”).

Vietnam) | & all the whose work we invisible have read andof the government that “choreographs” bodies across the globe as a migrant learnt from. workforce, asking what politics underlie the need to work abroad?

Last but not least, naturally we would like to thank the artist, Julia Sarisetiati Thethe exhibition a wide for variety viewpoints and perspectives, and curator, presents Grace Samboh their ofin-depth research, knowledge, hovering over the intersection of migrant labour, national politics commitment and care that is at the core of this on-going project, and and for education like a panning camera, whilst zooming in and out from the state working tirelessly on the development of this exhibition. and the private into the personal. Choreographed Knowledges furthermore

challenges us to consider our own position as workers (or human resource) in a time of hyper-globalization, as well as the politics and values we embody as human beings.

Meet the student (2018) HD video, colour, sound, 6’

Must-know vocabulary (2018) HD video, colour, sound, 3’ 14’’

5.

Meet the instructors (2018) HD video, colour, sound, 22’ 07’’

6.

Why knot? (Tying up boats/mooring basics) (2018) HD video, colour, sound, 11’ 02 These works (4, 5, 6) are all related to the act of recording (or taping) as a form of documenting, a way of taking notes. It is one of the most important research tools. The two interview videos Meet the instructors (5) and Meet the student (4), offer you a way into Sari’s vast curiosity towards the personality traits of Indonesian migrant workers. While the instructors once worked abroad, the student is about to leave for their new job. A sense of eeriness is bound to spike as the hopes of the returnees are still somehow alighned with those who are about to embark on their journey.

The video Why knot? (Tying up boats/Mooring basics) (6) shows a rope skills class in which the instructor has created a competition for the students

to simulate teamwork, sorting out a situation they will likely encounter once they are on a ship. Meanwhile, the series of prints titled Why knot? (Squid fishing gear; Rope splicing; Net making; Net patching and mending) (4) is a step-by-step guide on how to tie Reading Room and zooming Timeline (2019) knots used for fishing, in on the hands of a soon-to-be Printed materials, photos and videos of training centres, video fisherman whoarchival has rehearsed, memorized and embodied the script works on iPads that will prepare them for their new job abroad.

1-2.

The seed video the workelderly: Must-know was sown in 2015Howfortothe bathe PTvocabulary Sukses (4) Bersama 2016, when Sari created a prototype of the mobile application mentioned in Yatfuari Cirebon, 2017 the introduction, which includes a feature for workers to share a wide range YouTube video, courtesy of Faris Gimbal of vocabularies used in daily (working) life. The vocabulary they learnt during the Korean Language Course in the training centre is very different from the

How bathe ain baby: Sukses reality they to encounter KoreanPT factories.

WithBersama 19 peopleYatfuari from different industries, Sari 2017 generated Factory vocabulary (2016, currently also Cirebon, accessible on YouTube).

For itsof2018 presented here (4), Sari YouTube video, courtesy Fariscontinuation, Gimbal investigated training centres for Indonesians who are about to depart to Korea and other parts of the world. Aside from wanting to know how the What do you want to be when youisgrow up?abroad, StartingSari from childhood, we are training centres imagine what needed is also interested in the taught to answerthat this the question with a particular profession: a doctor, an technologies soon-to-be-migrant workers are being equipped astronaut, a teacher, a soldier, a police(wo)man, a painter, etc. Thiswhat shows with—language being but one of them. It leaves one to wonder other

thatskills, humans are workers.

If you are a doctor, you willingo, people surprising or unexpected, workers willwherever find themselves need of once willthey ask settle you about their health.

Our work has an affect on our roles in in their new lives, and what skills they will develop on theirour own,

social In fact, what do we accomplish by working? Does your job match outlives. of necessity or desire. your ideals? How do you choose the path of education you will travel? Does

education or expand your choice of occupation?

What is the soon, attitude It may limit be clear that Sari’s exploration will not end anytime it of will thecontinue state towards education and employment to guarantees the continuity to grow and expand after this exhibition has finished. There will

andbe welfare of the lives its people? new iterations andofprojects (the next exhibition coming up in Mongolia), deepening of research and friendships, adaptations to changing realities, Theand timeline [2] that intersperses thisMeanwhile, exhibition the is informed onquestioning of those in power. camera isby stillSari’s panning... going artistic research and serves as a backdrop and base for the works in

thisthis exhibition. exhibition.

TheThe reading reading room room [1] [1] functions functions as as an an underlying underlying resource resource where where youyou cancan read read more more about about thethe topics topics addressed addressed in the in the timeline timeline andand in in thethe exhibition exhibition at large. at large.

Both Both stem stem from from a curiosity, a curiosity, suspicion, suspicion, andand questioning questioning about about thethe factfact thatthat there there areare people people whowho go go andand work work abroad. abroad.

In the In the lastlast decade, decade, Indonesia Indonesia became became a member a member of the of the G20 G20 (2008) (2008) andand thethe initiator initiator of of thethe ASEAN ASEAN Economic Economic Community Community (2009); (2009); thethe amount amount of and of and access access to to higher higher education education (universities (universities or academies) or academies) hashas grown grown significantly significantly withwith thethe support support of of various various central central government government policies; policies; in fact, in fact, thethe number number of of migrant migrant workers workers (or (or BMI’s BMI’s in Indonesian) in Indonesian) hashas increased increased because because of of thethe myriad myriad of vocational of vocational schools schools andand training training centres centres thatthat prepare prepare them. them.

What What is is thethe cause? cause?

What What is our is our involvement involvement in these in these changes? changes?

ThisThis reading reading room room andand timeline timeline invite invite youyou to delve to delve intointo Indonesia's Indonesia's human human resources resources from from thethe perspectives perspectives of manpower of manpower andand education. education.

Feel Feel freefree to to copy, copy, taketake notes notes andand taketake pictures pictures of all of the all the materials materials at your at your disposal disposal here. here.

YouYou areare alsoalso invited invited to add to add personal personal experiences experiences or stories or stories youyou have have heard heard about about higher higher education, education, scholarships, scholarships, migrant migrant labour labour or working or working abroad, abroad, andand thethe rolerole of state of state infrastructure infrastructure in your in your life life as aashuman a human resource resource in Indonesia. in Indonesia.

migrant migrant workers areare taught thethe skills required to work in particular industries workers taught skills required to work in particular industries abroad.

These videos operate on on many levels: as as a manual for for future abroad.

These videos operate many levels: a manual future workers, as as a video profile of of thethe worker (which cancan be be presented to to workers, a video profile worker (which presented companies companies thatthat willwill hirehire them), them), andand as promotion as promotion materials materials for for thethe training training centres. centres.

TheThe standardization standardization of of human human bodies bodies andand capabilities capabilities shown shown in in these these videos videos challenges challenges us us to rethink to rethink howhow we we value value ourselves, ourselves, ourour bodies, bodies, ourour ideas ideas of who of who we we should should andand want want to be. to be.

These These bodies bodies areare taught taught to to perform perform thethe needs needs of global of global capital. capital.

TheThe factfact thatthat they they willingly willingly enact enact these these roles, roles, areare willingly willingly recorded recorded andand uploaded; uploaded; leaves leaves us us withwith a big a big question: question: What What roles roles do we do we enact? enact?

AreAre we we conscious conscious of it? of it?

4.4.

Why Why knot? knot?

(Squid (Squid fishing fishing gear) gear) (2018) (2018) Rubber Rubber screen screen print, print, gold gold acrylic acrylic on on paper paper SetSet of 11 of 11 prints prints (9 pcs (9 pcs @ 20 @ 20 x 20 x 20 cm;cm; 1 pcs 1 pcs @ 90 @ 90 x 60 x 60 cm;cm; 1 pcs 1 pcs @ 40 @ 40 x x 60 60 cm)cm)

Why Why knot? knot?

(Rope (Rope splicing) splicing) (2018) (2018)

3.3.

First First physical physical examination. examination.

Interview Interview forfor Taiwan Taiwan (2018) (2018)

Rubber Rubber screen screen print, print, withwith gold gold acrylic, acrylic, on on paper paper SetSet of 19 of 19 prints prints (1 pcs (1 pcs @ 97.5 @ 97.5 x 65 x 65 cm;cm; 3 sets 3 sets of 6of@6 20 @ 20 x 20 x 20 cm)cm)

Why Why knot? knot?

(Net (Net making) making) (2018) (2018)

4-channel 4-channel video, video, colour, colour, sound, sound, 4’ 07’’ 4’ 07’’

Rubber Rubber screen screen print, print, withwith gold gold acrylic, acrylic, on on paper paper SetSet setset of 5ofprints 5 prints (@(@ 60 60 x 60 x 60 cm)cm)

ThisThis video video installation installation highlights highlights thethe educational educational phase phase of the of the Indonesian Indonesian

Why Why knot? knot?

(Net (Net mending mending & patching) & patching) (2018) (2018)

migrant migrant workforce workforce cycle: cycle: thethe activities activities in the in the training training centres. centres.

TheThe work work consists consists of an of an assemblage assemblage of found of found YouTube YouTube videos videos (yes, (yes, much much likelike found found

Rubber Rubber screen screen print, print, withwith gold gold acrylic, acrylic, on on paper paper SetSet of 2ofprints 2 prints (@(@ 67.5 67.5 x 67.5 x 67.5 cm)cm)

objects) objects) produced produced

by RR

by RR Manpower, Manpower, a training a training centre centre where where Indonesian Indonesian

Meet the student (2018) HD video, colour, sound, 6’

Must-know vocabulary (2018) HD video, colour, sound, 3’ 14’’

5.

Meet the instructors (2018) HD video, colour, sound, 22’ 07’’

6.

Why knot? (Tying up boats/mooring basics) (2018) HD video, colour, sound, 11’ 02 These works (4, 5, 6) are all related to the act of recording (or taping) as a form of documenting, a way of taking notes. It is one of the most important research tools. The two interview videos Meet the instructors (5) and Meet the student (4), offer you a way into Sari’s vast curiosity towards the personality traits of Indonesian migrant workers. While the instructors once worked abroad, the student is about to leave for their new job. A sense of eeriness is bound to spike as the hopes of the returnees are still somehow alighned with those who are about to embark on their journey.

The video Why knot? (Tying up boats/Mooring basics) (6) shows a rope skills class in which the instructor has created a competition for the students

to simulate teamwork, sorting out a situation they will likely encounter once they are on a ship. Meanwhile, the series of prints titled Why knot? (Squid fishing gear; Rope splicing; Net making; Net patching and mending) (4) is a step-by-step guide on how to tie Reading Room andzooming Timeline (2019) knots used for fishing, in on the hands of a soon-to-be Printed materials, photos and videos of training centres, the video fisherman whoarchival has rehearsed, memorized and embodied script works on iPads that will prepare them for their new job abroad.

1-2.

The seed video the workelderly: Must-know vocabulary was sown in 2015Howfortothebathe PT Sukses(4) Bersama 2016, when Sari created a prototype of the mobile application mentioned in Yatfuari Cirebon, 2017 the introduction, which includes a feature for workers to share a wide range YouTube video, courtesy of Faris Gimbal of vocabularies used in daily (working) life. The vocabulary they learnt during the Korean Language Course in the training centre is very different from the

bathe ina baby: Sukses realityHow they to encounter Korean PT factories.

WithBersama 19 people Yatfuari from different industries, Sari 2017 generated Factory vocabulary (2016, currently also Cirebon,

accessible on YouTube).

For itsof 2018 presented here (4), Sari YouTube video, courtesy Fariscontinuation, Gimbal investigated training centres for Indonesians who are about to depart to Korea and other parts of the world. Aside from wanting to know how the What do you want to be when you up?abroad, Starting from childhood, we are training centres imagine what is grow needed Sari is also interested in the taught to answerthat thisthe question with a particular profession: a doctor, an technologies soon-to-be-migrant workers are being equipped astronaut, a teacher, a soldier, police(wo)man, painter, etc. This shows with—language being but onea of them. It leavesa one to wonder what other

that humans are workers.

If you are a doctor, you will people skills, surprising or unexpected, workers will wherever find themselves in go, need of once willthey asksettle you about their health.

Our work has an affect on our roles in in their new lives, and what skills they will develop on theirour own, social In fact, or what do we accomplish by working? Does your job match out lives. of necessity desire. your ideals? How do you choose the path of education you will travel? Does

education limit or expand your exploration choice of occupation?

What is thesoon, attitude of It may be clear that Sari’s will not end anytime it will thecontinue state towards education and after employment to guarantees the continuity to grow and expand this exhibition has finished.

There will

and of the lives its people? bewelfare new iterations andofprojects (the next exhibition coming up in Mongolia), deepening of research and friendships, adaptations to changing realities, The timeline [2] that intersperses this exhibitionthe is camera informedis by onand questioning of those in power.

Meanwhile, stillSari’s panning... going artistic research and serves as a backdrop and base for the works in

INTRODUCTION BIOGRAPHIES

ACKNOWLEDGEMENTS

dangerous (working with machineries, at sea, etc.) and at times demeaning (due to people’s attitude towards the worker). This means that within the global labour market there is a growing demand for “low skilled workers”.

Choreographed Knowledges is a is project by and artistcurator Julia Sarisetiati (Sari) at Julia Sarisetiati (b.

1981, Jakarta) an artist based in Jakarta.

Cemeti-Institute fortheArt and curated ofbyTrisakti GraceUniversity Samboh.with The She graduated from Arts andSociety, Design Faculty

Yet, that labourers have strictthis limitations for theirits We countries would like to host thankmigrant all those who supported project during period of work and re-entry circumstances.

It is as phase, if nobody wants to take conception, research, preparation and installation in particular:

builds on the artist’s andanengagement with a project major in Photography.

She islong-term a part ofresearch ruangrupa artist collective Indonesian migrant DuringGudskul—an a residency informal at Seouleducational Art Space based in Jakarta thatworkers. now co-runs

full responsibility for these people’s development as human beings and their advancement a typeMufida of workforce. relates this precarious Ary "Sendy" Jimgedas| Ratna (Hyphen Sari —) | Enin Supriyanto (Project

Geumcheon, (2011), Sari met exhibitions fellow Indonesians were Jakarta working platform for artKorea practitioners.

Recent include who TACTICS abroad, Indonesia their fields ranging fromUrban manufacturing to Copenhagen construction, Biennale, (2013); Hacking Reality Series,

position migrantHusada workers| to herself, and to| artists and art by 9) |ofAjiIndonesian Asfani | Dholly Dindin Rasjidin Marcellina Dwi workers in general.

Kencana Putri | Libby Davitri | Liemena Sapriya Putra | Nissal Nur

agriculture, and domestic work. Starting from herThe own (2016); 11th fisheries, Gwangju caregiving Biennale, Korea (2016); We’re in this, together, skills and interest in photography and videography, Sari was fascinated Factory Contemporary Art Space, Saigon (2018, with Grace Samboh).

In

Afryansah | Handoko Wiyanto | Anton Rais Makoginta | Arham Rahman For this Lorong) exhibition, Choreographed Knowledges, focuses on Putri one | (Galeri | Julian Abraham “Togar” | Irindhitashe “Ayash” Laras particular vocational education, whichHermawan in the field|ofBambang migrant labour Ipeh Nur aspect: | Pak Yosep | Rudi 'Lampung' “Toko” translates to training past year, Sari did research into | Witjaksono | Yoppiecentres.

AdhijayaDuring | Datathis Prayogo | Tatang | RR Manpower

with the her the newmedia friends with their families 2017, she way curated art maintained festival OK. relationships Video with a focus on food.

As friends the most up-to-date smartphone technologies. a and curator, she using is currently working on RETURNS: Migration NarrativesSari in being an and active member of Goethe ruangrupa, an artists’ initiative in Jakarta, she Southeast East Asia with Institute. had to remain in contact and be present in decision making processes by meansSamboh of online(b.conference platforms.

Grace 1984, Jakarta) is a Working curator passport and common situations manoeuvred between Yogyakarta and Medan, Indonesia.

in Korea with thebased same and researcher them into sense of Aside froma curating

camaraderie.

Sari has been working a mobile exhibitions andSince writing2015, for various publications both towards in Indonesia and application that functions as a community-based resource centre for the abroad, she is a member of Hyphen research collective (hyphen.web.id) Indonesian migrant workforce, be aitpublication those who about are working abroad, those with whom she is working towards Gerakan Seni Rupa are about to go[‘The abroad and those whoArt have returned. (1975-1989). She is Baru Indonesia Indonesian New Movement’] furthermore program manager of the Equator Symposium (2012-2022, TheYogyakarta IndonesianBiennale government uses thewith term workforce” with Foundation), the"migrant next edition coming(BMI up onin Indonesian) to describe Indonesian people working abroad, the majority of this month. sambohgrace.wordpress.com. which is considered low skilled, inadequate and ill equipped for promotion the labour market.

According statistics offered by of thethe Indonesian Inin2018, Grace and Sari also workedtotogether in the context Equator

government, in 2018, the country’s migrant workforce consisted of(The 265 Symposium (Yogyakarta Biennale Foundation) and POLLINATION million Contemporary people. At least of this number get a higher Factory Artstwo-thirds Center & SAM Fund for Artdid andnot Ecology). education, while more than half only in went to elementary school.previously This is the Some of the artworks presented this exhibition were “baggage” gives statusWe’re of “low skilled workforce”. exhibited as that part of the them group the exhibition in this, together at The Meanwhile, many countries are-27 facing a huge Factory, Ho Chi Minh developed City (14 December 2018 January 2019).decline of workforce for jobs that are classified as dirty (cleaners, caregivers, etc.),

Indonesia’s educational policies and visited various training centres Faris Gimbal | Teguh Safarizal | Restu Ratnaningtyas | Kang Dindinin | Indonesia, where soon-to-be migrant workers are equipped withfor theArt skills Natasha Sidharta and Agung Hujatnikajennong (SAM Fund and they will need for the industry they will(Yayasan work in, Biennale from fisheries to care | Ecology) | Simposium Khatulistiwa Yogyakarta) labourers, from factories to boating.

The title of this exhibition refers on the Yustina Neni (Kedai Kebun Forum) | Gudskul | ruangrupa | Verry

one hand to |the practical and social skills that are taught, Handayani Ferial Afiff | Muhammad AB |(“knowledges”) MN Qomaruddin | Suray Agung acquired and embodied, and on the other to the training centres itself: Nugroho | Brigitta Isabella | Ign. Kendal | Achdiyanto Ilyas, Deden, Tatang, highly where soon-to-be rehearse Data staged Prayogosets (Indonesian Fisheries migrant Workersworkers Union) perform, | Bill Nguyen, Zoe and repeat tasks with the use of props before an audience of fellow Butt, Le Thien Bao, Nhung Le, Nguyen Tuan (the Factory Contemporary students (“choreographed”). finallywhose refers work to thewe invisible hand and of Art Center, Vietnam) | & allThe thetitle authors have read the government that “choreographs” bodies across the globe as a migrant learnt from. workforce, asking what politics underlie the need to work abroad?

Last but not least, naturally we would like to thank the artist, Julia Sarisetiati The presents wide variety of in-depth viewpoints and perspectives, andexhibition the curator, Grace aSamboh for their research, knowledge, hovering over the intersection of migrant labour, national politics and commitment and care that is at the core of this on-going project, and for education like a panning whilstof zooming in and out from the state working tirelessly on thecamera, development this exhibition. and the private into the personal. Choreographed Knowledges furthermore

challenges us to consider our own position as workers (or human resource) in a time of hyper-globalization, as well as the politics and values we embody as human beings.

Cemeti-Institute for Art and Society is the oldest platform for contemporary art in Indonesia, founded in 1988. Cemeti offers a platform for artists to develop, present and practice their work, in close collaboration with curators, researchers, activists, academics, other practitioners and communities. This takes the shape of exhibitions, workshops, talks, symposiums, publications, research threads, residencies and more. Together, we aim to explore the possibilities for a gallery to act as a site for civic action.

This exhibition is part of Bodies of Power/Power for Bodies, Cemeti’s ongoing programming thread that explores the social role and political agency of cultural practice; how we can speak to (bodies) of power, as well as directly support our individual and collective bodies. More info via www.cemeti.org.

For more information about Cemeti - Institute for Art and Society and our programme, please ask us in person in the gallery or visit our website: www.cemeti.org.

Cemeti - Institute for Art and Society Jl. D.I. Panjaitan 41 Yogyakarta 55143, Indonesia www.cemeti.org

@cemeti.institute #choreographedknowledges #bodiesofpower #powerforbodie