Grace Samboh

Updated in Jan 31, 2021

EN – 234 words

Grace Samboh (b. Jakarta, 1984) lives and works either in Yogyakarta, Jatiwangi, Jakarta or Medan. She is in search of what comprises a curatorial work within her surrounding scene. She jigs within the existing elements of the arts scene around her for she considers the claim that Indonesia is lacking art infrastructure especially the state-owned or state run as something outdated. She believes that curating is about understanding and making at the same time. With Hyphen — (f. 2011), her concern is to encourage Indonesian arts and artistic research projects and publications. Her research looks at contemporary practices outside the existing centers of Indonesian art scene and slowly reconnect them all with the past and central narratives. With Enin Supriyanto, Yustina Neni & Ratna Mufida, she used to run Equator Symposium (Yogyakarta Biennale Foundation, 2010-2018) where they explored the possibility of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future. Since 2019, she joined a gallery-based initiative in Jakarta, RUBANAH Underground Hub, as the program director.

Currently, Grace is also one of the curators for the upcoming “Jakarta Biennale 2021: ESOK”; “Collecting Entanglements and Embodied Histories” a joint venture between Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Singapore Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Goethe-Institut (2021-2022); and struggling to pursue a doctorate in the Arts and Society Studies, at the Sanata Dharma University, Yogyakarta.

EN – 174 words

Grace Samboh (b. Jakarta, 1984) lives and works either in Yogyakarta, Jatiwangi, Jakarta or Medan. She is in search of what comprises a curatorial work within her surrounding scene. She jigs within the existing elements of the arts scene around her for she considers the claim that Indonesia is lacking art infrastructure especially the state-owned or state run as something outdated. She believes that curating is about understanding and making at the same time. With Hyphen — (f. 2011), her concern is to encourage Indonesian arts and artistic research projects and publications. Her research looks at contemporary practices outside the existing centers of Indonesian art scene and slowly reconnect them all with the past and central narratives. With Enin Supriyanto, Yustina Neni & Ratna Mufida, she used to run Equator Symposium (Yogyakarta Biennale Foundation, 2010-2018) where they explored the possibility of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future. Since 2019, she joined a gallery-based initiative in Jakarta, RUBANAH Underground Hub, as the program director.

EN – 95 words

Grace Samboh (b. Jakarta, 1984) is in search of what comprises a curatorial work within her surrounding scene. She jigs within the existing elements of the arts scene around her for she considers the claim that Indonesia is lacking art infrastructure especially the state-owned or state run as something outdated. She believes that curating is about understanding and making at the same time. She is attached to Hyphen —, affiliated to RUBANAH Underground Hub, and currently undertaking a doctoral program at Arts and Society Studies, Sanata Dharma University, Yogyakarta. She’s logs her writings at sambohgrace.wordpress.com

EN – 50 words

Grace Samboh (b. Jakarta, 1984) cannot stay put, so she works in Yogyakarta, Jakarta, Jatiwangi or Medan. Due to questioning too many things at once, she does curatorial work as well as groundwork research. She is interested in unravelling how social realities, relationships and the past formulate in contemporary practices.

ID – 80 words

Grace Samboh (l. 1984, Jakarta) terus-menerus mencari kemungkinan bentuk kerja kuratorial di dalam ruang hidupnya. Ia percaya bahwa kerja kuratorial adalah memahami sekaligus membuat sesuatu pada waktu yang bersamaan. Klaim bahwa Indonesia kekurangan infrastruktur negara dianggapnya ketinggalan zaman. Ia bersijingkat peran dalam beragam elemen dan lembaga seni di sekitarnya sebagai peneliti, penulis, produser, dan kurator seni rupa. Ia tergabung dalam Hyphen — dan RUBANAH Underground Hub (Jakarta), sembari menempuh pendidikan doktoral di jurusan Kajian Seni dan Masyarakat, Universitas Sanata Dharma Yogyakarta.

ID – 159 words

Grace Samboh (l. 1984, Jakarta) sedang menempuh pendidikan doktoral di jurusan Kajian Seni dan Masyarakat, Universitas Sanata Dharma Yogyakarta. Ia terus-menerus mencari kemungkinan bentuk kerja kuratorial di dalam ruang hidupnya. Klaim bahwa Indonesia kekurangan infrastruktur negara dianggapnya ketinggalan zaman. Ia bersijingkat peran dalam beragam elemen dan lembaga seni di sekitarnya. Belakangan ini, sejumlah penelitiannya berpihak pada praktik-praktik seni rupa yang tidak membutuhkan pusat maupun stabilitas. Dalam artikulasinya, ia mengaji-ulang hubungan praktik yang ditelitinya dengan kegiatan dan kejadian dari masa lampau serta stabilitas pusat yang kerap tidak merasa aman. Ia percaya bahwa kerja kuratorial adalah memahami sekaligus membuat sesuatu pada waktu yang bersamaan. Bersama Hyphen —, perhatiannya adalah untuk mendorong publikasi penelitian dan proyek artistik dalam konteks Indonesia. Bersama dengan Simposium Khatulistiwa (Yayasan Biennale Yogyakarta, 2010-2018), ia mengeksplorasi kemungkinan terhubungnya banyak orang di sepanjang garis yang membelah bumi ini atas dasar solidaritas, kekaguman terhadap masa lalu, dan optimisme terhadap masa depan. Sejak 2019, ia ikut menata program RUBANAH Underground Hub.

ID – 211 words

Grace Samboh (l. 1984, Jakarta) sedang menempuh pendidikan doktoral di jurusan Kajian Seni dan Masyarakat, Universitas Sanata Dharma Yogyakarta. Ia terus-menerus mencari kemungkinan bentuk kerja kuratorial di dalam ruang hidupnya. Klaim bahwa Indonesia kekurangan infrastruktur negara dianggapnya ketinggalan zaman. Ia bersijingkat peran dalam beragam elemen dan lembaga seni di sekitarnya. Belakangan ini, sejumlah penelitiannya berpihak pada praktik-praktik seni rupa yang tidak membutuhkan pusat maupun stabilitas. Dalam artikulasinya, ia mengaji-ulang hubungan praktik yang ditelitinya dengan kegiatan dan kejadian dari masa lampau serta stabilitas pusat yang kerap tidak merasa aman. Ia percaya bahwa kerja kuratorial adalah memahami sekaligus membuat sesuatu pada waktu yang bersamaan. Bersama Hyphen —, perhatiannya adalah untuk mendorong publikasi penelitian dan proyek artistik dalam konteks Indonesia. Bersama dengan Simposium Khatulistiwa (Yayasan Biennale Yogyakarta, 2010-2018), ia mengeksplorasi kemungkinan terhubungnya banyak orang di sepanjang garis yang membelah bumi ini atas dasar solidaritas, kekaguman terhadap masa lalu, dan optimisme terhadap masa depan. Sejak 2019, ia ikut menata program RUBANAH Underground Hub.

Sekarang, ia juga menjadi salah satu kurator untuk “Jakarta Biennale 2021: ESOK” dan “Collecting Entanglements and Embodied Histories” proyek bersama Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Singapore Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, dan Goethe-Institut (2021-2022); sembari berupaya menunaikan pendidikan doktoralnya pada Kajian Seni dan Masyarakat, Universitas Sanata Dharma, Yogyakarta. 

CV-like sentences if needed

Recent exhibitions that she is involved, be it as curator, advisor or contributor, includes “FOMO/JOMO: Hacking modernity’s dualism” at RUBANAH Underground Hub, Jakarta (2019); “Ulah Tanah (Mischievous Earth), a solo exhibition of Julian Abraham “Togar” at RUCI Art Space, Jakarta (2019); “Unorganised Response”, at Auto Italia, London (2019); “Contemporary Worlds: Indonesia”, at the National Gallery of Australia, Canberra (2019); “Choreographed Knowledges”, a solo exhibition of Julia Sarisetiati, at Cemeti — Institute for Art and Society, Yogyakarta (2019); “Daur Amanat” (Inherited Order), a solo exhibition of Ary “Jimged” Sendy, at Rubanah Underground Hub, Jakarta (2018); “RETURNS” curated by David Teh, as part of the Gwangju Biennale, Korea (2018); “Ties of History – Art from Southeast Asia” at the Metropolitan Museum, UP Vargas Museum, and Yuchengco Museum, Manila (2018); “SUNSHOWER – Contemporary art from Southeast Asia 1980s to now” at the Mori Art Museum and the National Art Center Tokyo (2017).

Her recent essays can be found in Corina Apostol & Nato Thompson (eds.) Making Another World Possible: 10 Creative Time Summits, 10 Global Issues, 100 Art Projects, initiated by Creative Time, published by Routledge (2019); Lucy Steeds (et al, ed.), Curating After the Global: Roadmaps for the Present, co-published by Luma Foundation, CCS Bard and MIT Press (2019); Amelia Barikin & Helen Hughes (eds.), Tom Nicholson: Lines towards Another, co-published by the IMA, the Australian Centre for Contemporary Art, and Sternberg Press (2018); Udo Kittelmann & Gabriele Knapstein (eds.), Hello World: Revising a Collection, Nationalgalerie Berlin and Hirmer Verlag (2018); jurnalkarbon.net (2017).

Profile pictures
Downloadable hi-res, please mind the photo credits as mentioned.

Photo taken by Tamarra;
Photo courtesy of Hyphen —;
Photo courtesy of Hyphen —;
Photo taken by Ary “Jimged” Sendy, in the courtesy of Jakarta Biennale 2021: ESOK



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