looping loopholes catalog by Roy Voragen

Exhibition Catalogue

2015 Yeo Workshop All artworks are of the artists unless otherwise stated. All information is correct at the time of publication. ISBN: 978-981-09-5538-0 Exhibition Curator: Catalogue editor:

Roy Voragen Yeo Workshop

Exhibition productor: Yeo Workshop Exhibition Catalogue All rights reserved. Apart from any fair dealing for purposes of private study, research, criticism, or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without orior consent from the Publisher. Printer: Cahaya Timur Offset, Yogyakarta, Indonesia Photographs taken by: Wong Jing Wei Anni Oates Designed by: Anni Oates Cover Image: Detail of Duto Hardono How to Perform John Cage’s 4’33” on a Tape Loop Delay as demonstrated by a Band of Cacti 2009 Site-specific installation with casette tape loops, portable casette recorders and players, headphones and cacti

Gillman Barracks 1 Lock Road 01-01 Singapore 108 932 Sinngapore E: info@yeoworkshop.com W: www.yeoworkshop.com T: + 65 6734 5168

Contents Introduction

Roy Voragen’s essay on looping loopholes

Duto Hardono:

How to perform John Cage’s 4’33” on a tape loop delay demonstrated by a band of cacti

Not an Event in Life

Muhammad Akbar:

In Gaze Control #1 - #5

The Light Runner

Rizki Resa Utama (OQ):

Kembali ke Sekolah (Back to School)

Hallo! #1 - #2

CV:

Duto Hardono

Muhammad Akbar

Rizki Resa Utama (OQ)

Roy Voragen

List of exhibited artworks

Thank you

Installation view of looping loopholes at Yeo Workshop 1

Foreword by Audrey Yeo, Director Yeo Workshop Yeo Workshop presents the group exhibition looping loopholes with works by Duto Hardono, Muhammad Akbar and Rizki Resa Utama (better known as OQ), and curated by Roy Voragen. All three artists originate from Indonesia; OQ has been based in Germany since 2008 to pursue his academic studies, while Duto and Akbar live and work in Bandung. Roy is originally from the Netherlands but has been residing in Bandung since 2003. looping loopholes raises an important question: can we not only tolerate, but also see in a new light what at first would be perceived as a mistake? Or, to put it differently, can the unintended become an intentional part of urban living? The artists tackle this question in witty, visually strong and conceptually rigorous ways to materialise their works. The conceptual premise of this exhibition is mediated in various ways: photography, single- and double-channeled videos (displayed as a projection as well as on HD monitors) and sound installations. For artists born in the 80s, technology – smart phones, tablets, the Internet, etc. – is a ubiquitous part of everyday life; they are not concerned with labels such as new media art, sound art or video art. When working beyond the more traditional medium of painting, the method adopted is not chosen for the sake of merely pushing boundaries, but as a contemplative result which better suits the creative concept. For this exhibition, the artists related the question mentioned above – mistakes as blessings in disguise – to our anxious bodies, socially constructed languages, urban space, and non-linear time. These relationships are explored and intersected at different levels. The multi-layered intersections are looped – literally and metaphorically – throughout the exhibition space, subsequently making Yeo Workshop and its visitors part of an ongoing loop of feedback. Guests of Yeo Workshop are invited to experience and interpret the exhibited artworks in looping loopholes based on their own experiences. Subjectively deciphering the display on separate levels, meanings become apparent on intellectual, sensual, and emotional grounds. Duto, Akbar and OQ are in their early thirties but are already established in their careers, in Indonesia in particular, as well as in Asia, Europe and beyond. All three artists have exhibited in international biennales and participated in international residencies. In Bandung, the artists have been exposed to discourses on, and ways of dealing with, the global history of contemporary art. However, this formative background did not teach them to vmerely follow tradition. Instead, to avoid lingering on the surface of the visual they appropriate what they need, discard other parts, add their own ideas and obsessions, with an astute sense of humour. In continuation of the artists’ productive arc, looping loopholes is a tangent into Singapore. This exhibition offers a solid introduction of the artists and their work in line with Yeo Workshop’s mandate to support emerging artists and their creative research. As a contemporary art gallery, Yeo Workshop promotes the works of international artists that pose a challenge, and local artists who help contribute to Singapore’s distinctive culture. The work aims to engage with national and international audiences alike.

looping loopholes by Roy Voragen, Curator We could try to transform our contingency into destiny.

- Agnes Heller

Liquid modern life is a daily rehearsal of universal transience.

- Zygmunt Bauman

Language in all its shapes and forms is what gives us body. We whisper, we yell, we argue, we declare, we state this and that. We look, gaze, stare. We are seen-not-seen. We paint in lush brush strokes. We scribble notes on the city’s walls, we write dissertations on the fall of the re/public. We read philosophy, poetry and prose. We take, post and like photos. We read out loud. We wink, we show the finger. We whisper. We listen, we pretend to listen. We try to understand. We don’t understand – no, not at all. We contradict each other and ourselves. We trip, we fall. We fail. We fail again. And, we start over… Occasionally, we speak in riddles and tongues, including slips. Slippery streets are cacophonic. Voices and counter-voices inhabit our cities. Specters of a past are here to haunt us; movies and monuments immortalizing the victorious sins of an imagined we. A city without people is no longer a city. A city would turn quickly into a ruin of asphalt and concrete without us – merely a collection of potholes; all stone and no flesh. A city means many things. It also means this: to fail, to fail again and then try again, to trip, to fall and pick ourselves up once more. There are as many definitions of cities as there are cities. However, all these definitions have in common is that cities are places where we meet as strangers. In cities we meet alien bodies, transient bodies. In cities we speak and hear foreign tongues. A city with her bricks and whispers, her raindrops and candies, her meandering rivers and drunken sailors, her brush strokes, her cacophonous soundtracks, her unsung love affairs, her coffee and cigarettes at the crack of dawn, the odor of green papayas, her 4

hopes and ghosts, gentle and wicked… A city we remember. Cities are not merely backdrops to the stories we tell each other over and over again, cities are the fiber that give these stories the much needed bones – and a pulsation, too. A jazzy pulse, or one of gamelan, or heavy metal, or tango, or hybrids: dangdut infused with a fab disco beat – so many cities, so many rhythms. To remember is not the same as to commemorate – archives of the city are amnesiac zombie entities of our memory. Graveyards are the sites where memories as we knew them come to an end. Numbered, catalogued, put in neat folders and cabinets in underground basements, our memories are stored to collect dust and fungus. A memory with a pulse is a mobile memory, told or shown to others – countless times given manifold shapes and forms – whispered from ear to ear, morphing from one to another body. A city – the bad & the ugly, the delicious and wreckage, the uncanny and repressed, happiness and joy, the sleazy one night stands and magnificent hubris. Cities, certainly, are only built metaphorically in a week’s time. However, a week is ample time to spectacularly wipe out an entire metropolis with its sinners, specters and samurais off the face of the earth. A week is also plentiful of time to alter our imagined city. Art can move us – move us to built a city, multiple cities out of our memory to remember, to commit to… Cities function like magnets. People move to the city not only because they hope to take part in its economic prowess, people also move to the city because it plays such an important part in our imagination – the city of freedom, the city of development, the city of luminous spectacles. However, sometimes, for many, hopes and dreams are evaporated by dusk. A city is a site of ontological uncertainty, which can cause anxiety and possibly violence against the stranger, against what is perceived as disturbingly alien and impure & dirty. Architectural designs give power a form and, in turn, shape power. Spaces and places frame life; furthermore, the ways we use these spaces and places are framed by the ways we talk about them: technically, aesthetically, morally, politically, economically, legally, socio-psychologically, etc. Urban anxiety and an ‘architecture of fear’ are Siamese twins: gated communities, CCTVs and drones, flyovers, super-blocks comprising malls and apartments are used to avoid the disgusting chaos – symbolizing social status, the graving for security and a distrust of strangers (expulsion of gentiles as gentrification), while, at the very same time, not providing real safety, which causes, in turn, even more anxiety, which, in turn, can lead to yet another call for increased control and so on and so on... 5

Hermeneutic indeterminacy – not knowing how to go on because the actions of others are unpredictable – has to do with urban complexity. But don’t be a fool to equate complexity with chaos. Chaotic Jakarta is as complex as ordered Singapore. Newcomers to Jakarta are told that the city’s traffic has only one rule: there are no rules. However, if that would be true, road rage and fatalities would be rampant. And perhaps Singapore is more prone to the next urban revolution than any other chaospolis in the region. It’s presumptuous to claim only others can run amok and to regard a homicidal frenzy around Orchard as unimaginable. Can we live with our creations, our cities? And, can we live with contingency? Do we give in to heterophobia and attempt to purge ambivalence from our cities by disciplining ourselves and others further and further? And isn’t beautifying the city not just another doublethink term for law & order? The futility of it all. And fatalism. Or…what if? Or, we could embrace the complexity of heterotopia. And we could see systematic failures & glitches and unintended consequences as new avenues to a renewed imagined city. Could we give alterity – the multitudes of otherness – a shot? And heterodox agency? Breaks and tears, chance and change are inevitable, even though only slightly visible/audible at first, when an action is – or: has to be – repeated over and over again. Failure and a deviation from perceived standards are common treads to who we are/can be(-come) in particular places and times (including how we are perceived and received by others in public and private instances). The exhibition looping loopholes deals with the repetitive, reflexive interaction between people, language, space place and time. With flair and a witty sense of humor, the artists – Duto Hardono, Muhammad Akbar and Rizki Resa Utama (aka OQ) – raise the question whether we can embrace mistakes as a blessing in disguise.

Duto Hardono

Duto Hardono (Jakarta, 1985) received his BFA from the painting studio, Institute of Technology Bandung (ITB), Indonesia, in 2007 and his MFA from the same university in 2010. During his BFA, he painted on found objects as a move to go beyond the canvas; after completing his BFA he refocused to collage works and sound installations, the latter often with performative elements. Besides practicing as a visual artist, he teaches at ITB’s inter-media studio and he creates, produces and releases his own sound works on cassette tapes. Duto works with different materials, preferably low-fi, and media, including sound, drawing, video, ready-made and performance. Duto draws inspiration from a variety of sources: pop culture, conceptual art (including its creative mistranslations), 6

anti-art movement, and a dark sense of humor. He participated in biennales in Shanghai (2012; he collaborated with Meiro Koizumi, their work was subsequently censored) and Yogyakarta (2013), he conducted residencies in Japan (2011), Egypt (2013) and Taiwan (2014), and he had two solo exhibitions thus far: Good Love, Bad Joke (at Selasar Sunaryo Art Space, Bandung, 2010) and Klab Lucifer (at Ark Gallery, Yogyakarta, 2014). He also performs live, for example at Goodman Arts Center, Singapore, 2014.

How to perform John Cage’s 4’33’’ on a tape loop delay as demonstrated by a band of cacti

2009, site-specific installation with cassette tape loop, portable cassette recorders and players, headphones and cacti (first shown during In De Kost, a collaborative project with Mella Jaarsma at Selasar Sunaryo Art Space). In this work, the cacti reference the impossibility of performing silence – of John Cage’s 4’33’’ as well as more mundane silence. We are incapable of producing (tolerating?) silence: we inevitably produce and are surrounded by a wide range of sounds, not all audible at first, sometimes it requires a little help from amplification techniques. By hypostatizing the promise of silence we attune ourselves to sounds. The magnetic tape records and plays seductive silence produced by the cacti to which we can listen to with delay – with delay, as sound needs to travel through time and space. The ambient sounds of the gallery space are recorded and played as well to distort the silence of the cacti: the absence of a deliberate sound composition liberates indeterminate sounds we chance upon. Silence and sound both share the characteristic of duration. And this work plays on the social etiquette of an art space, where we are supposed to view art in silence, but we are hardly ever completely silent actors: a door opens and closes, footsteps, a cough, and etcetera intersect with silence. Looping can also be seen as a metaphor for non-linearity, moreover, the delayed loop in this time-based installation functions as a mnemonic device as it registers unconsciously and accidently made sounds of a proximate past. And cassettes can be considered as ready-made artifacts of past – more distant – times’ achievements, and, as such, these objects can symbolize a remembrance of times past.

Not an Event in Life

2015, site-specific installation with an open reel tape player, a tape loop with sound, vintage horn speaker, chair and flowers. Sound art only comes alive in a space where we can have an embodied experience of the sound, and in the exhibition looping 7

Duto Hardono, How to Perform John Cage’s 4’33” on a Tape Loop Delay as demonstrated by a Band of Cacti, 2009 Site-specific installation with casette tape loops, portable casette recorders and players, headphones and cacti 8

loopholes Duto presents a new site-specific sound installation with an appropriate Wittgensteinian title. In this installation, the vintage horn speaker’s brand is Toa, which is widely used in Indonesia. Additionally, the horn is used as an improvised vase; the flowers will slowly die while the sound fails to wither away, at least for the duration of the show anyway. The horn/vase rests on an upside-down chair, borrowed from the gallerist’s dining room. And as with Joseph Kosuth’s work One and Three Chairs, the choice of chair is contingent on the availability of chairs (for Duto’s installation, the only requirement is that the chair has round legs so not to cut the tape loop too quickly). While the sound of a screeching chair is repeated over and over again, this doesn’t mean that no changes occur. For Duto, repetition involves change: over time the looped magnetic tape will start to show signs of wear, which will alter the sound. Mistakes, therefore, can be considered as hidden intentions. And the sound of the screeching chair can be interpreted based on one’s own experiences; one visitor referred to it as ‘the elephant in the room’, and another as the wailing sound arising out of a slum at night. During the opening, Duto presented a performance titled Variations on Pierre Henry’s Variations for a Door and a Sigh. Pierre Henry (1927) is a composer from France who works in the genre of ‘musique concrète’ and he integrates the miscellaneous into his compositions. For Duto, this performance is both an ode and a looping back. Duto performed this piece two times during opening night, and the second time artist Bani Haykal joined him. While Duto sampled from several tapes on a Walkman, a looped tape on an open reel tape deck (looped around a microphone stand) and a tape deck, Bani, sitting on the floor at the other end of the gallery, used his amplified voice as an instrument, resulting in an intriguing and moving feedback dialog: it’s the beauty of slippage that mistakes were woven into the dialogue.

Muhammad Akbar

Muhammad Akbar (Bandung, 1984) studied French literature at the Education University of Indonesia in Bandung (2007) and he received his MFA from ITB (2012). Muhammad Akbar practices as a video artist and his work is both exhibited as single channel videos as well as video installations. Besides practicing as an artist, he also works as a graphic designer (which he refers to as propaganda as his job can require to make something appear in a better light than it is in reality) and VJ. Doubling as a VJ and a motiongrapher under the moniker Killafternoon, he occasionally collaborates with bands and musicians in the indie music scene. As a visual artist, he exhibits and screens his works in numerous film festivals and art exhibitions; for example, Bangkok Experimental Film Festival (2005), the video art biennale OK Video Festival (2007, 2009 and 2011), at ZKM in 2011 (Center for Art and Media in Karlsruhe, Germany), and at ICAS (Singapore, 2012). In 2012 he had a solo exhibition at Selasar Sunaryo Art Space titled Gaze (the Unseen) and in 2014 he participated in a residency program in France (which was awarded to him as part of his Bandung Contemporary Art Award prize in 2013). 9

Duto Hardono, Not an Event in Life, 2015 Site - specific installation with an open reel tape player, a tape loop with sound, found vintage horn speaker, collectorâ&#x20AC;&#x2122;s chair and flowers 10

Duto Hardono, Back to School I (The Beta Version) series 1 Stella 29.5 x 32 x 5 cm; series 2 Serra 20 x 35.5 x 5 cm; series 3 Kelly 19 x 19.5 x 5 cm; Found home-recorded Betamax videos and covers, 2014 11

In Gaze Control #1-#5

2012, ed. 4, series of 5, single-channel HD 1080p video, 10’ (looped) (first shown in the exhibition What Do Pictures Want, Jakarta). For this series, Akbar liquidized traditional portrait photography into video. The women in this series were asked to sit in silence for ten minutes, and the camera recorded their every twitch while the camera stood motionless in front of them. The silent-mode flat screen is a peephole-like device of voyeurism to satisfy our – heterosexual male – scopophilic instinct (the pleasure derived from looking). Akbar, and his camera, watched these women. And, in turn, we watch these women being watched. Moreover, we watch other gallery visitors watching. The phallocentric gaze is socially constructed and systemized to mark social and sexual status. The potentially violent gaze can cause an anxious awareness that one is or might be watched, which can cause a sense of a loss of autonomy. Furthermore, the gaze is internalized, which renders the relationship between observer and observed powerful. To see and be seen – in a reflexive tango – can change all who are involved. The object of our gaze is never completely passive; there is always a chance that the other glances back, even if it is just in our imagination, and might break through the looking glass. The gaze, for sure, objectifies (nameless women in the case of this series). But what does it to us, gallery visitors, to stare at these women? Are these women looking back at us from behind their screens? And so the feedback loop continues.

The Light Runner

2015, ed. 5, single channel video (projection), 12’30’’ (looped). The predecessor of The Light Runner was part of his solo exhibition Gaze (The Unseen) as a video installation titled Light Chaser; for the exhibition looping loopholes he recreated this work as a single channel video, not by re-editing the source material but by re-enacting the performance. In this performance, the artist, wearing a white suit, runs in circles, chasing – haunting – himself. The white suit, reflecting the beam of light, – like the wigs and make-up the women wear in In Gaze Control – is armor, a uniform to hide behind. Self-doubt and performance anxiety – concerning his untrained, ungracious body, concerning his place in the world – play an important role in this work; yet, we can only know our body spatially. Where is Akbar running towards? He is eternally running in circles, clockwise surrounded by pitch-black darkness. What or who is he running from? The loop has no beginning nor end – causality seems to be taken out of the equation. There is no stepping outside of the loop; the loop is all there is.

Muhammad Akbar, In Gaze Control #1, #2, #3, #4, #5, 2012 High-definition 1080p (progressive scan formatted for digital), 10â&#x20AC;&#x2122; (looped), (Presented in HDTV 42-inch screen) Edition of 4 +1 Artistâ&#x20AC;&#x2122;s Proof 13

Muhammad Akbar, The Light Runner, 2015 Single-channel video (projection), 12’30” (looped) Edition of 5 14

Rizki Resa Utama (OQ)

Rizki Resa Utama (better known as OQ; Bandung, 1982) studied Communication Science at Padjajaran University in Bandung (BA; 2006). In 2008, he moved to Braunschweig, Germany, for his BFA (‘Diplom’; 2013) and MFA (‘Meisterschüller’; 2014), both from the Kunsthochschule für Bildende Künste. He uses the medium of moving images, which in his case can take the form of video, experimental film, photography (a photo is a moving image frozen in time) and performance art. He has shown his work in Canada, France, Germany, Iceland, Indonesia (like Duto and Akbar, OQ has shown his work at Selasar Sunaryo Art Space), Italy, the Netherlands, Philippines, Singapore (in 2006 at the Sculpture Square, in 2007 at Your Mother Gallery, and the 2008 biennale), South Africa, Switzerland and Turkey; he conducted an artist-in-residency in Turkey (2011); and he had his first solo exhibition in 2005 titled Bukan Orang Biasa (Unusual People, at Common Room Networks Foundation, Bandung) and his second solo exhibition at Junge Kunst E.V. Wolfsburg, Germany, in 2015.

Kembali ke Sekolah (Back to School)

2014, ed.5, two-channel video installation, 9’51’’, mime artist: Wanggi Hoediyatno (first shown as part of his solo exhibition re- at Junge Kunst E.V. Wolfsburg, Germany, 2015). This work consists of two screens facing each other. On one screen, a man (the artist as director) can be seen giving instructions in Indonesian. On the other screen, an actor mimes these instructions while he is intimately connected to another person (the artist as puppeteer) by the waist and arms. The mime artist attempts to give meaning to the directed words by performing them through his body. The artist resides in Germany since 2008 and on his last trip back home he came to realize that he is no longer fluent in the fluidity of his mother tongue, the tongue that connects to home, and not the abstract, imagined Heimat but the actually living space of a particular place with real people – where is home without a fluid tongue? This theatrical work emphasizes that (re-)acquiring the ability to speak a language fluently and understand its subtleties means to be part of a social network, which involves mimicry, mistakes, performance and play; and only when one is able to do so, one could potentially become part of that place. We say ‘panic’ and ‘eat’, but what do these words mean? Their meaning, their normativity, should become internalized into our own body, and a socially constructed language requires embodied performances to stay alive (and, obviously, change).

Rizki Resa Utama (OQ), Kembali ke Sekolah, 2014

2-channel video installation, 9’51” Edition of 5 + 1 Artist’s Proof 16

Hallo #1-#2

2015, ed.2, series of 4, photo performance, 60 x 90cm, photo credit: Ulf Beck (first live performed at Kunstraum 53, Hildesheim, Germany, 2014). In this series, the artist explores our relationships to space and place, which are never neutral, by imitating the shape of an abandoned room by re-positioning a mass of participants within its perimeters. One by one, participants are placed and arranged until the shape of the room is cloned bordered with tape on the floor. The performance ends with the artist shouting ‘Hallo!’. And like language, the meaning of a particular place is not – cannot be – constructed out of a solitary act, it rather requires continuous interaction in and with particular spaces. And vice versa, we know ourselves – our body – spatially in interaction with others. Meaning is socially constructed through reflexive interactions over time in particular places; to keep meaning alive – or change it over time – is to perform socially. Meaning is not abstract: it is social, spatial and temporal. We need language, in the broadest sense of the word, to attempt to make sense of it all: ourselves (and our bodies), time and space/place. However, no matter how intricate the stories we tell about ourselves, our origins and destinies become, if we assemble all these together they amount to nonsense (nonsense (and contradictions), though, ought to be taken seriously). To return to the question the artists pose in this exhibition, whether we can embrace mistakes as a blessing in disguise, or, to put it in a slightly different way, can errors possibly be the seeds of something different? Yes, the artists show, errors, while properly speaking unintended and unwanted because we are inclined to favor control, can be unexpected and short-lived situations or moments that offer the possibility of something else, an altered pathway leading to unparalleled directions – yet, not as a final solution to ambiguities…and so the disequilibria perpetuate…

Roy Voragen is a Bandung-based curator and art critic. * Two notes: First, I have recycled myself, well, at least some of my previous writings, for this essay. Writing, for me at least, is a slow and meandering process of going back and forth between ideas and ways of formulating & expressing these ideas. Second, this isn’t an academic text, so I abstained from using quotes & footnotes, but if you really need to know my sources, here is a selection (in no order whatsoever): Zygmunt Bauman, Wittgenstein, Nietzsche, Anthony Giddens, Ulrich Beck, Foucault, De Certeau, Lefebvre, David Harvey, Abidin Kusno, Agung Jennong, Richard Sennett, Richard Rorty, Scott Lash, Haruki Murakami, John Urry, Laura Mulvey, Kristi Monfries, John Dewey, Richard Shusterman and Italo Calvino.

Rizki Resa Utama (OQ), Hallo! #1 , Hallo! #2, 2015

Digital print on cotton paper, 60 x 90 cm #1 in a Series of 4, Edition of 2 + 1 Exhibition Copy +Artistâ&#x20AC;&#x2122;s Proof 18

CV - Duto Hardono Jakarta, Indonesia, 1985 Home Again, Hara Museum Of Contemporary Art, Tokyo, Japan Lives and works in Bandung, Indonesia A(r)t A(c)t, Padi Art Ground, Bandung, Indonesia hasanapress.org 2011 Education Rounds, Hiromiyoshii Roppongi, Tokyo, Japan 2010 Influx: Multimedia Art Strategy In Indonesia, Galeri Cipta II, Taman Ismail Marzuki, MFA, Fine Art & Design Faculty, Institute of Technology Bandung (ITB), Bandung, Jakarta, Indonesia Indonesia 2010 2007 Percakapan Massa, National Gallery, Jakarta, Indonesia BFA in Painting, Fine Art & Design Faculty, ITB, Bandung, Indonesia Post-Psychedelia, Selasar Sunaryo Art Space, Bandung

Residencies & Honors 2009

2014 In De Kost, collaborative project with Mella Jaarsma, Selasar Sunaryo Art Space, Asia Awards Young Creator Grand Prix Nominee, Tokyo Designers Week Bandung, Indonesia Project Glocal Taipei, Digital Art Foundation, Taiwan Bandung Initiative 4, Galeri Roemah Roepa, Jakarta, Indonesia Bandung Art Now, National Gallery, Jakarta, Indonesia 2013 Beirut & Biennale Jogja Foundation, Cairo, Egypt 2008 Nine, Galeri Roemah Roepa, Jakarta, Indonesia 2011 Untitled, Selasar Sunaryo Art Space, Bandung, Indonesia Backer’s Foundation & AIT Artist in Residence, Tokyo, Japan A Decade Of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung, Indonesia Survey, Edwin’s Gallery, Jakarta, Indonesia

Solo Exhibitions

2014 2007 Klab Lucifer, Ark Gallery, Yogyakarta, Indonesia Sisa: re-use, collaborations and cultural activism from Indonesia, UTS Gallery, Sydney, Australia 2010 Said and Done v2.0, Stride Gallery, Calgary, Alberta, Canada Good Love, Bad Joke, Selasar Sunaryo Art Space, Bandung, Indonesia 2006

Selected Group Exhibitions Bandung New Emergence #1, Selasar Sunaryo Art Space, Bandung, Indonesia

2015 The Group Show, 12th Button Space, Bandung, Indonesia looping loopholes, Yeo Workshop, Singapore Said and Done v2.0, Anti-Social Gallery, Vancouver, Canada Portografi, Galeri Kita, Bandung, Indonesia 2014 The Roving Eye: Contemporary Art From Southeast Asia, ARTER, Istanbul, Turkey 2005 2nd Annual Collectors’ Contemporary Collaboration – Passion/Possession, Hong Kong Re:[Post], Japan Foundation, Jakarta, Indonesia Arts Centre, Hong Kong 2004 2013 Steal Life, Soemardja Gallery, ITB, Bandung, Indonesia Biennale Jogja XII Equator #2: Not A Dead End, Jogja National Museum, Yogyakarta, Indonesia 2003 Media/Art Kitchen, National Gallery, Jakarta, Indonesia Inkubasi (fresh-year exhibitions), ITB, Bandung, Indonesia ARTE Indonesia Arts Festival, Jakarta Convention Center, Jakarta, Indonesia

Selected Performances

2012 2015 The 9th Shanghai Biennale: Reactivation, Bandung Pavilion for Intercity Pavilion Project, Variations on Pierre Henry’s Variations for a Door and a Sigh (in collaboration with Bani Power Station of Art, Shanghai, China Haykal), Yeo Workshop, Singapore Variations on Pierre Henry’s Variations for a Door and a Sigh, Café Mondo, Jakarta, Indonesia 19

2014 Project Glocal for Lacking Sound Festival, Taipei, Taiwan Playfreely+, Black Box, Goodman Arts Centre, Singapore 2013 Media/Art Kitchen, National Gallery, Jakarta, Indonesia 2012 Home Again Tapes, Hara Museum Of Contemporary Art, Tokyo, Japan A(r)t A(c)t, Padi Art Ground, Bandung, Indonesia 2011 No Land, Hiromiyoshii Roppongi, Tokyo, Japan 2010 3 Sousaphones Drone On Loop Study No.1: Über-Feedback, Selasar Sunaryo Art Space, Bandung,Indonesia Studies in Banjo Drone & Tape Loops Variation, Soemardja Gallery, ITB, Bandung, Indonesia 2008 Untitled, Selasar Sunaryo Art Space, Bandung, Indonesia

Selected Bibliography

2013 Sounds Like Duto Hardono Is Exploring the Human Condition, featured interview by Kristi Monfries, The Jakarta Globe Sunday, March 24 2012 Laughter, Boos, and Silence: Duto Hardono in Conversation with Roger McDonald, publised online by Guggenheim Museum for Guggenheim UBS MAP Program http://blogs.guggenheim.org/map/laughter-boos-and-silence-duto-hardono-inconversation-with-rogermcdonald/ Home Again – 10 Artists Who Have Experienced Japan, edited by Atsuo Yasuda, Yuko Shiomi & Naoko Horiuchi, published by Arts Initiative Tokyo & Backer’s Foundation 2010 Good Love, Bad Joke, exhibition catalog, written & curated by Agung Hujatnika Jennong, published by Selasar Sunaryo Art Space, Bandung, Indonesia

Discography

2015 Guitars, Ltd. split c34 with Bin Idris, Hasana Private Press, Indonesia 2013 Day’s Arc #2, Ltd. four-way split c60, Full Of Nothing, Russian Federation 2012 Recordings of Names & Misled Trains, Ltd. c35, Rocket Machine Tapes, Australia Capturing Image Of The Eminent Incorrect Interpretation, Ltd. c35, Avant Archive, USA 20

2011 Meturo, Ltd. c33, Hasana Private Press, Indonesia 2010 In The Cave (So That They Heard Not), Ltd. c20, Hasana Private Press, Indonesia Reading, Ltd. c27, Hasana Private Press, Indonesia

CV - Muhammad Akbar Bandung, Indonesia, 1984 Lives and works in Bandung, Indonesia makbarmakbar.net

Education

2012 MFA, Fine Art & Design Faculty, Institute of Technology Bandung (ITB), Bandung, Indonesia 2007 Bachelor of Education, French Language Teaching, Faculty of Art & Language Teaching, Universitas Pendidikan Indonesia (UPI), Bandung, Indonesia

Prizes & Awards

2013 Indonesia Art Awards (IAA), National Gallery, Jakarta, Indonesia Bandung Contemporary Art Award #3, Lawangwangi Creative Space. Art Sociates, Bandung, Indonesia 2008 Best Video Art, Ganesha Film Festival, LFM-ITB, Bandung 2007 ASEAN New Media Art Competition, ASEAN 1st grand prizewinner

Solo Exhibitions

2012 Gaze (The Unseen), Selasar Sunaryo Artspace, Bandung, Indonesia

Duet Exhibitions

2014 Lumieres, M. Akbar & Syaiful A. Garibaldi, Espace Art Contemporain & Centre Intermondes, La Rochelle, France

Media Art Kitchen, National Gallery, Jakarta, Indonesia Bandung Contemporary Art Award #3, Lawangwangi, Bandung, Indonesia Indonesia Art Awards #3, National Gallery, Jakarta, Indonesia Put Up Signal, AsialinkArtlink, BUS Project & MES56, FedSquare, Melbourne, Australia Gambar Idoep, Semarang Gallery, Semarang, Indonesia 2012 What do pictures want?, Art:1 Gallery, Jakarta, Indonesia MANIFESTO #3: ORDE & KONFLIK, National Gallery, Jakarta, Indonesia GOOD OLD DAYS, Galeri KITA, Bandung, Indonesia TROPICALLAB: LAND, La Salle College of the Arts, ICAS, Singapore INSIDE THE MOMENT FILM FESTIVAL, Crane Arts, Philadelphia, US EXTRANOEMA, Galeri Padi, Bandung, Indonesia 2011 Sarupaning Beja, Audio Visual Music Performance with TRAH, IFI, Bandung, Indonesia Selamatan Digital, Langgeng Art Foundation, Yogyakarta, Indonesia FILM FORUM, HBK, Braunchweig, Germany SWEET AGONY, Dia.Lo.Gue. Art Space, Jakarta, Indonesia DERAU, sound art exhibition NU-SUBSTANCE, Common Room Networks Foundation & Studio Rosid, Bandung, Indonesia CONTEMPORARY LANDSCAPE, Lawangwangi, Bandung, Indonesia BAYANG, Islamic Contemporary Art, National Gallery, Jakarta, Indonesia VOYEURISME, Ruang Gerilya, Bandung, Indonesia BAZAAR ART, Jakarta, Indonesia MEMBAJAK TV, Salihara, Jakarta, Indonesia LET’S DIE TOGETHER IN 2012, Common Room Networks Foundation, Bandung, Indonesia OK VIDEO, FLESH, National Gallery, Jakarta, Indonesia Catching The High Tide: Video Art from Indonesia, LaSalle College of the Arts, ICAS, Singapore The Other “I”, Padi Artground, Bandung, Indonesia YXINE Film Festival, Vietnam Moving Images from Indonesia, ZKM - Center for Art and Media, Karlsruhe, Germany 2010

Group Exhibitions & Festival Screenings CODEX CODE, Kedai Kebun Forum, Co2, ruangrupa, Yogyakarta, Surabaya, Jakarta, 2015 looping loopholes, Yeo Workshop, Singapore

2014 Lumieres, Espace Art Contemporain La Rochelle. France Loop Video Festival, La Virreina Centre De La Image, Barcelona, Spain Melihat Indonesia, Ciputra Art World, Jakarta, Indonesia Garden Art Festival, by Young Indonesian Female Initiative (YIFI), Goethe Institut, Bandung, Indonesia Wonderfruit Festival, Pattaya, Thailand 2013 Dance Your Eyes, NMA Festival, Gedung Indonesia Menggugat, Bandung, Indonesia Arte, Indonesia Arts Festival, Jakarta Convention Center. Jakarta, Indonesia

Indonesia CRASH PROJECT: IMAGE FACTORY, Sigi Arts, Jakarta, Indonesia Lihat! Video art from Indonesia, Gallery Jesús Gallardo, León. Mexico FIXER, Pameran Ruang Alternatif & Komunitas Seni Rupa di Indonesia, North Art Space, Jakarta, Indonesia PAMERAN VIDEO MUSIK EKSPERIMENTAL JERMAN-INDONESIA, Institut Goethe, Jakarta, Indonesia 7Inch, S.14, Bandung, Indonesia Zurcher Theater Spektakel, Zurich, Switzerland OK.Video, A Retrospective, KunstBüroBerlin, Berlin, Germany Sang Ahli Gambar dan Kawan-Kawan, A Tribute to S. Sudjojono, Padi Art Ground, Bandung, Indonesia Recorded Waves, para-site Art Space, HK INFLUX: Multimedia Art Strategy in Indonesia. DECOMPRESSION #10 - ruangrupa’s 10 years, Galeri Cipta II, Jakarta, Indonesia

2009 DEER ANDRY, A Solo Exhibition by Andry Moch, realized by his friends & family S.14, ruangrupa, MES56, Bandung, Jakarta, Yogyakarta, Indonesia OBERHAUSEN SHORT FILM FESTIVAL, Kurztfilmtage, Oberhausen, Germany WE’RE ALL MILLIONAIRES, A.O.D. Gallery, C+C project, Jakarta, Indonesia OK VIDEO: COMEDY, National Gallery, Jakarta, Indonesia JOGJA ART FAIR#2, Taman Budaya, Yogyakarta, Indonesia MuMo: MUST MORE VIDEO SHOW, B-Place, New York, US 2008 GANESHA FILM FESTIVAL, Liga Film Mahasiswa ITB, Bandung, Indonesia VIDEO SONIC ART, Soemardja Gallery, ITB, Bandung, Indonesia CELLSBUTTON #2, House of Natural Fiber, Yogyakarta, Indonesia NIKE SPORTSWEAR RE-MASTERED, Senayan City, Future10 & Dailywhatnot, Jakarta, Indonesia 15x15x15 METAPHORIA, Soemardja Gallery, ITB, Bandung, Indonesia Southeast Asia Video, Bombay Sapphire Art Project, Valentine Willie Fine Art, Kuala Lumpur, Malaysia NU-SUBSTANCE, KITA Gallery, s Room Network Foundation, Bandung, Indonesia VIDIOT, HOLLAND-INDONESIA VIDEO FESTIVAL, Rumah Seni Yaitu, Importal, Semarang, Indonesia 2007 ASEAN NEW MEDIA ART COMPETITION, National Gallery, Jakarta, Indonesia OK VIDEO: MILITIA, National Gallery, Jakarta, Indonesia LOWAVE-intercity, IFI, Rumah Buku, Common Room Networks Foundation, Bandung, Indonesia BASIC FRAME, Yogyakarta International Video festival, House of Natural Fiber, Yogyakarta, Indonesia 2006 ANDRY MOCH’s ME & MAYHEM, Sunday’s movie club, Bandung, Indonesia ART FEST VIDEO LAB, Parahyangan University. Bandung, Indonesia BANDUNG - SINGAPORE DISPLACEMENT PROJECT, Common Room Networks Foundation & Sculpture Square, Bandung and Singapore, Indonesia, Singapore ART & RESISTANCE, Soemardja Gallery and Sanggar Luhur, Bandung, Indonesia BANDUNG NEW EMMERGENCE #01, Selasar Sunaryo Art Space, Bandung, Indonesia HETERO UTOPIA, Soemardja Gallery, ITB, Bandung, Indonesia OPEN HOUSE 12th BUTTON, BUTON KULTUR 12, Bandung, Indonesia 2005 PAMERAN DAUN MUDA 3 Kota, Padi Gallery, Bandung, Indonesia VIDEOBATTLE 8th Round, Yoguyakarta, Indonesia 3rd ASIA EUROPE - ART CAMP, with Video Babes, Selasar Sunaryo Art Space, Bandung, Indonesia BOEMBOE FORUM, Utan Kayu Theatre, Jakarta, Indonesia REC-it 3, VideoBabes, Bandung, Indonesia BANGKOK EXPERIMENTAL FILM FESTIVAL, Bangkok. Thailand ARE WE EXIST, with VIDEOLAB, BTW space, Bandung, Indonesia “Do It Yourself” Poster, Common Room Networks Foundation, Bandung, Indonesia IMAGINED COUNTRIES, Wayang Cyber performance collaboration with Mizuho 22

Matsunaga, iF venue, Bandung, Indonesia 2004 36 FRAME, Common Room Networks Foundation, Bandung, Indonesia DAGINGTUMBUH award #8, Kedai Kebun, Yogyakarta, Indonesia BEYOND PANOPTICON, Bandung Electronic City, Bandung, Indonesia DJAMU TJAP IKIP 2, Balai Pertemuan UPI, Bandung, Indonesia MEDIABARU@EGROUPS, multimedia performance with WAYANG CYBER, LONTAR Gallery, Jakarta, Indonesia video art Marl, Institut Goethe, Common Room Networks Foundation, Bandung, Indonesia GEJALA-GEJALA DEMAM IBUKOTA, iF venue, Bandung, Indonesia FESTIVAL FILM PENDEK BANDUNG, AACC, Bandung, Indonesia

CV - Rizki Resa Utama (OQ) Bandung, Indonesia, 1982 Lives and works in Braunschweig, Germany oqutama.info

Education

2014 Meisterschüler (MFA) under Prof. Candice Breitz at Hochschule für Bildende Künste (HBK) Braunschweig, Germany

2013 Diploma of Fine Art (BFA), HBK Braunschweig, Germany (Prof. Candice Breitz, Prof. Michael Brynntrup) 2006 Bachelor of Arts, Communication Faculty, Padjadjaran University (UnPad), Indonesia

Awards & Residencies

2013 LED Screening, Volksbank BraWo, Braunschweig, Germany 2012 Artist in Residence, North Rhine-Westphalia and HBK foundation, Istanbul, Turkey 2011 Honorary Mention Award from 24, European Media Art Festival (EMAF) This is Media Art, Osnabrück, Germany

Solo Exhibitions

2015 re-, Junge Kunst e.V. Wolfsburg, Wolfsburg, Germany 2005 Bukan Orang Biasa (unusual people), Common Room Networks Foundation, Bandung, Indonesia

Exhibitions/Film/Video Screenings/Performances

2015 looping loopholes, Yeo Workshop, Singapore

2014 VISIO, Lo Schermo dell’arte film festival, Villa Romana, Florence, Italy Braunschweig International Film Festival, Braunschweig, Germany Other Shot, Flur 11, Braunschweig, Germany I Wish I Could See You From Here, HBK Gallery, Braunschweig, Germany (Un)Geplante Obsoleszenz, Kunstraum 53, Hildesheim, Germany ENTER, Berlin, Germany No Thing is My King, Kunstverein Hildesheim, Hildesheim, Germany Never Lend Money to A Man With A Sense of Humour, Kreuzberg Pavillon, Berlin, Germany

2013 Kestnerschau, Scheinfrei und Glanzlos, Kestnergesselschaft, Marktkirche, Hannover, Germany Undisclosed Territory #7, Plesungan, Indonesia Between the Lines, Michaelis Gallery Cape Town, South Africa re:MMX Video Box, Berlin, Germany 2012 Kasseler DokFest, Kassel, Germany Here & There, Now & Then, Atelier Thornfolger, Braunschweig, Germany Looking for Your Speech, Manzara Perspectives Gallery, Istanbul, Turkey 25 Years of EMAF, European Media Art Festival, Osnabrück, Germany Images Festival, Toronto, Canada Greener on The Other Side, International Video Festival, Amsterdam, the Netherlands 2011 Up-and-Coming, International Film Festival, Hannover, Germany Bandit Mages, International Film Festival, Bourges, France International Filmfest Braunschweig, Brunswick, Germany Performance Nacht, Lange Nacht Der Museen Kiel, cooperation with Enric Fort Ballester, Kiel, Germany Greener on The Other Side, International Video Festival, Reykjavik, Iceland Fluid Identity, CGartspace, Jakarta, Indonesia This is Media Art, European Media Art Festival, Osnabrück, Germany 2010 iD-indonesian Contemporary Art, Kunstraum Kreuzberg, Berlin, Germany Handlung und Tat, HBK Gallery, Brunswick, Germany Internationales Filmfest Braunschweig, Brunswick, Germany Kasseler DokFest, Kassel, Germany Anadoma 2, Film festival-Randevous-Forum, LOT-Theater, Brunswick, Germany 2009 Regard Bleu #5, cooperation with Aly O’Bryant, Ulrike Folie and Vera Suschko, Völkerkundemuseum der Universität Zürich, Switzerland 2008 Wonder, Singapore Biennale, City Hall Singapore, Singapore A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung, Indonesia Münchener EthnoFilmFestival, cooperation with Aly O’Bryant, Ulrike Folie and Vera Suschko, Staatliches Museum für Völkerkunde München, Germany 2007 IntenCITY/LOWAVE, Video Art and Experimental Cinema Screening, IFI, Rumah Buku, Common Room Networks Foundation, Bandung, Indonesia Popscape, Everyday in Indonesia, Cultural Center of the Philippines, Pasay City, Philippines Restfest, Short Film and Video Festival, ITB, Unpad, Bandung, ID.! Episode 5, 12-Hours Performance, Sound and Video Festival, Your MOTHER Gallery, Singapore

2006 Bandung New Emergence #1, Selasar Sunaryo Art Space, Bandung, Indonesia Bandung-Singapore Displaced, Video Art Exhibition Room No#1, If Venue, Common Room Networks Foundation, Soemardja Gallery, Sculpture Square, Spell#7, Front Room, Bandung/Singapore, Indonesia/Singapore Launching, Open House and Exhibition of 12th Button, Buton Kultur 21, Bandung, Indonesia

CV - Roy Voragen Heerlen, the Netherlands, 1974 Lives and works in Bandung, Indonesia fatumbrutum.blogspot.com

Education

2003 University of Amsterdam, the Netherlands, Master in Political Science and Master in Philosophy

Professional

2013-present Bandung-based associate curator Artist Pension Trust (www.aptglobal.org/) Coordinator Dear Curator Curate Me, which is a traveling project by Kristoffer Ardeña (www.facebook.com/DearCuratorCurateMe) Founder Contemporary Arts Bandung (www.facebook.com/ContemporaryArtsBandung) 2012-present Freelance curator 2011-present Founder Roma Arts, focusing on contemporary art by organizes seminars, talks, exhibitions and artist-in-residencies 2010-present Freelance art writer 2003-2010 Philosophy and Political Science lecturer at undergraduate and graduate programs at Institute of Technology Bandung (ITB), Padjadjaran University (Bandung), University of Indonesia (Jakarta) and Parahyangan University (Bandung) 2008-2010 Editor of Melintas, an international journal of philosophy

Books & Contributions to Books

Forthcoming “Art and the Right to the City, Tisna Sanjaya’s Cigondewah project in Bandung,” in A View of the Ground, Art and Landscape, ed. Jason Wee Super Duper Decorative Art Manifesto 2.0 2011 Overlapping Territories, Asian Voices on Culture and Civilization, eds. Bambang Sugiharto and Roy Voragen (Newcastle: Cambridge Scholars Press, 2011)

Contributions to Exhibition Catalogues

2015 “looping loopholes,” curatorial essay for the exhibition looping loopholes, Yeo Workshop, Singapore, 24 April – 15 June 2014 “Original Sin of Asmudjo,” catalogue essay for Asmudjo Irianto’s solo exhibition Unoriginal

Sin II, Art in the Expired Field, LAF, Yogyakarta, 28 November–28 December “Amorphous Amours,” curatorial essay in the catalog of Deden Hendan Durahman’s solo exhibition Amorphous Amours, RKFA, Singapore, 17 July – 7 August “the weight of weightlessness, rhymes and rhythms of paper,” curatorial essay for the exhibition by the same title, Dia.Lo.Gue. Art Space, Jakarta, 4 – 31 March “Indonesia, market report,” in ArtStage 2014 Catalogue 2013 “Gusto,” catalog essay for Iwan Effendi and Ria Papermoon’s exhibition Selamat Po, Jogja Contemporary, Yogyakarta, 21 October – 20 November “Shifting imagery,” catalog essay for Ellert Haitjema’s The Big Shift, Cemeti Art House/ Heden, Yogyakarta/Den Haag 2012 “Via Aesthetica,” catalog essay for Irfan Hendrian’s solo exhibition Logical Aesthetics, ViaVia, Yogyakarta, 4 – 30 October “Body of Art,” catalog essay for Erika Ernawan’s solo exhibition Ruhe in Frieden, Lawangwangi, Bandung, 3 – 18 March 2010 “Art of Living as a Tragic Fate, An Autobiographical Reading of Friedrich Nietzsche’s Ecce Homo,” catalog essay for the exhibition Ecce Homo, Semarang Art Gallery, Semarang, 1 – 10 March 2007 “In the Face of Fatality: Amor Fati, Fatum Brutum,” catalog essay for the exhibition Amor Fati, Selasar Sunaryo Art Space, Bandung, 17 June – 15 July

Other Writings (selection)

“Biennale fever in Indonesia, Temporary sites for contemporary art,” Art Monthly Australia 265 (November 2013): 9-13 “Whip it up! Cemeti Art House and 25 years of contemporary art,” IIAS Newsletter 63 (Spring 2013): 36-37 “Performative Space: The Substation, Art and Culture in/of the City-state Singapore,” IIAS Newsletter 62 (Winter 2012): 40-41 “Beyond the post-Suharto city,” Singapore Architect 268 (May 2012): 162-165 “Art Histories: The Aporias of Modernization in Southeast Asia,” Tempo Magazine, 9 December 2012, 76-77 “A right to art: a plea for an art museum in Indonesia,” C-Arts Magazine 23 (May 2012) “Asia Art Archive in Hong Kong,” International Institute for Asian Studies Newsletter 59 (Spring 2012): 44-45 “The art of video art: video art and OK. Video Festival,” C-Arts Magazine 21 (October 2011): 88-96

Curatorial Projects

Looping Loopholes, a group exhibition, Yeo Workshop, Singapore, 24 April – 15 June, 2015 Looking at the Big Sky, co-curated with Rizki lazuardi, PLATFORM3, Bandung, Indonesia, 10 October – 3 November, 2014 Amorphous Amours, a solo exhibition by Deden Hendan Durahman, RKFA, Singapore, 17 July – 7 August, 2014

the weight of weightlessness, rhymes and rhythms of paper, group exhibition, Dia Lo.Gue. Art Space, Jakarta, Indonesia, 4 – 31 March 2014 Godspeed, a series of durational performances by Rudi Abdalah, PLATFORM3, Bandung, Indonesia, 10 – 13 October 2013 Qualia, a performance and installation by Jef Carnay, Asbestos Art Space, Bandung, Indonesia, 24 – 27 November 2012 Continuum of Consciousness, an art installation by Linda Sim Solay, IFI, Bandung, Indonesia, 12 – 25 October 2012 Balancing Paradoxes and Paradigms, a mural by Marika Constantino at Roma Arts, Bandung, July 2012

List of Exhibited artworks Duto Hardono

How to Perform John Cage’s 4’33” on a Tape Loop Delay as demonstrated by a Band of Cacti 2009 Site-specific installation with casette tape loops, portable casette recorders and players, headphones and cacti Back to School I (The Beta Version) series 1 Stella 2014 Found home-recorded Betamax videos and covers 29.5 x 32 x 5 cm

In Gaze Control #2 2012 High-definition 1080p (progressive scan formatted for digital), 10’ (looped) (Presented in HDTV 42-inch screen) Edition of 4 + 1 Artist’s Proof Edition 2 - 4 available In Gaze Control #3 2012 High-definition 1080p (progressive scan formatted for digital), 10’ (looped) (Presented in HDTV 42-inch screen) Edition of 4 + 1 Artist’s Proof

Back to School I (The Beta Version) series 2 Serra 2014 Found home-recorded Betamax 20 x 35.5 x 5 cm Back to School I (The Beta Version) series 3 Kelly 2014 Found home-recorded Betamax 19 x 19.5 x 5 cm Not an Event in Life 2015 Site-specific installation with an open reel tape player, a tape loop with sound, found vintage horn speaker, collector’s chair and flowers

Muhammad Akbar In Gaze Control #1 2012 High-definition 1080p (progressive scan formatted for digital), 10’ (looped) (Presented in HDTV 42-inch screen) Edition of 4+1 Artist’s Proof

In Gaze Control #4 2012 High-definition 1080p (progressive scan formatted for digital), 10’ (looped) (Presented in HDTV 42-inch screen) Edition of 4 + 1 Artist’s Proof In Gaze Control #5 2012 High-definition 1080p (progressive scan formatted for digital), 10’ (looped) (Presented in HDTV 42-inch screen) Edition of 4 + 1 Artist’s Proof The Light Runner 2015 Single-channel video (projection), 12’30” (looped) Edition of 5

Rizki Resa Utama (OQ)

Kembali ke Sekolah 2014 2-channel video installation, 9’51” Edition of 5 + 1 Artist’s Proof Hallo! #1 2015 Digital print on cotton paper 60 x 90 cm #1 in a Series of 4 Edition of 2 + 1 Exhibition Copy +Artist’s Proof Hallo! #2 2015 Digital print on cotton paper 60 x 90 cm #2 in a series of 4 Edition of 2 + 1 Exhibition Copy +1 Artist’s Proof

Yeo Workshop would like to thank: Roy Voragen, Duto Hardono, Muhammad Akbar, Rizki Resa Utama (OQ), Lilly Yeo, Irwin Hung, Michael Lee, Louis Ho, Boedi Widjaja, Bani Haykal, Ulf Beck, Wanggi Hoediyatno, Mei Suling, Deden H. Durahman, Agung Jennong, Endira FJ, Asep Setiadi Husen, Maulana ‘Molen’ Hussein, Ichsan, Pak Usman, Iwan Adhisuryo, Art Factory, TK Lai (INDC), Christopher Tan (NaraThai), Alan Tien, Mae Ling Tien and our families.