The planet from where we stand - Revision history

R Intan: /* Simposium khatulistiwa (2010-2018) */

2026-03-02T12:57:17Z

Simposium khatulistiwa (2010-2018)

← Older revision		Revision as of 12:57, 2 March 2026
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	Various encounters with other practitioners have generated our growing interest to look into exhibitions, festivals, or events, as fertile sites to constantly question once stance grew, so as the drive to recalibrate the constellation of beings.		Various encounters with other practitioners have generated our growing interest to look into exhibitions, festivals, or events, as fertile sites to constantly question once stance grew, so as the drive to recalibrate the constellation of beings.

	==[[Simposium Khatulistiwa ~~(2010-2018)\|Simposium khatulistiwa~~ (2010-2018)]]==		==[[Simposium Khatulistiwa (2010-2018)]]==
	'''The''' '''~~equator symposium~~''' was a biannual event held in alternate year of The Jogja Biennale (Equator Series). Based on knowledge exchange, this symposium serves to expand the scope, work, and new networks built by The Jogja Biennale which in each of its events is limited to cooperate with one region or even one country in particular. This symposium is designed to maintain existing relationships and build new relationships between countries along the equator region.		'''The''' '''Equator Symposium''' was a biannual event held in alternate year of The Jogja Biennale (Equator Series). Based on knowledge exchange, this symposium serves to expand the scope, work, and new networks built by The Jogja Biennale which in each of its events is limited to cooperate with one region or even one country in particular. This symposium is designed to maintain existing relationships and build new relationships between countries along the equator region.

	[[Grace Samboh]] and [[Ratna Mufida]] were behind this symposium. They worked together under Enin Supriyanto and Yustina Neni's direction to questionings whilst framing, constructing, and organising The Equator Symposium.		[[Grace Samboh]] and [[Ratna Mufida]] were behind this symposium. They worked together under Enin Supriyanto and Yustina Neni's direction to questionings whilst framing, constructing, and organising The Equator Symposium.

	==[[Choreographed Knowledges~~\|Choreographed knowledges~~]]==		==[[Choreographed Knowledges]]==
	What do you want to be when you grow up? Starting from childhood, we are taught to answer this question with a particular profession: A doctor, an astronaut, a teacher, a soldier, a police(wo)man, a painter, etc. This shows that humans are workers. If you are a doctor, wherever you will go, people will ask you about their health. Our work has an affect on our roles in our social lives. In fact, what do we accomplish by working? Does your job match your ideals? How do you choose the path of education you will travel? Does education limit or expand your choice of occupation? What is the attitude of the state towards education and employment to guarantees the continuity and welfare of the lives of its people?		What do you want to be when you grow up? Starting from childhood, we are taught to answer this question with a particular profession: A doctor, an astronaut, a teacher, a soldier, a police(wo)man, a painter, etc. This shows that humans are workers. If you are a doctor, wherever you will go, people will ask you about their health. Our work has an affect on our roles in our social lives. In fact, what do we accomplish by working? Does your job match your ideals? How do you choose the path of education you will travel? Does education limit or expand your choice of occupation? What is the attitude of the state towards education and employment to guarantees the continuity and welfare of the lives of its people?

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	[[Grace Samboh\|Grace]] was one of four curatorial members of "Collecting Entanglements and Embodied Histories" (2017–2022), a collaboration between Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum (Chiang Mai), Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum. For the Jakarta-leg of the exhibition, [[Akmalia Rizqita “Chita”\|Chita]] and [[Rachel K. Surijata\|Rachel]] were members of the research team and writers for its catalogue.		[[Grace Samboh\|Grace]] was one of four curatorial members of "Collecting Entanglements and Embodied Histories" (2017–2022), a collaboration between Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum (Chiang Mai), Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum. For the Jakarta-leg of the exhibition, [[Akmalia Rizqita “Chita”\|Chita]] and [[Rachel K. Surijata\|Rachel]] were members of the research team and writers for its catalogue.

	==[[Color Curtain~~\|Color curtain~~]]==		==[[Color Curtain]]==
	Bandung marked a historical moment in which existing affinities and solidarities found a shared name—''Afro-Asian''—and entered cultural and political discourse after its first Asia-Africa Conference was held in Bandung, Indonesia, from April 18-24 in 1955. The Afro-Asian solidarity movement, catalyzed by Bandung, then emerged as an anti-imperialist, anti-colonial, and anti-racist movement.		Bandung marked a historical moment in which existing affinities and solidarities found a shared name—''Afro-Asian''—and entered cultural and political discourse after its first Asia-Africa Conference was held in Bandung, Indonesia, from April 18-24 in 1955. The Afro-Asian solidarity movement, catalyzed by Bandung, then emerged as an anti-imperialist, anti-colonial, and anti-racist movement.

	Taking a point of departure from Richard Wright’s ''The Color Curtain: A Report on the Bandung Conference (1956),'' this project seeks to re-examine the so-called “promise” of Bandung and the ways in which it was culturally articulated. We like to think of the cultural and artistic as part of a system of action, intended to change the world. This action-centered approach to art and culture is more preoccupied with the practical mediatory role of art in the social process, wherein cultural and artistic manifestations mediate social agency in the vicinity of persons, objects and activities.		Taking a point of departure from Richard Wright’s ''The Color Curtain: A Report on the Bandung Conference (1956),'' this project seeks to re-examine the so-called “promise” of Bandung and the ways in which it was culturally articulated. We like to think of the cultural and artistic as part of a system of action, intended to change the world. This action-centered approach to art and culture is more preoccupied with the practical mediatory role of art in the social process, wherein cultural and artistic manifestations mediate social agency in the vicinity of persons, objects and activities.

	==[[Rewinding Internationalism~~\|Rewinding internationalism~~]]==		==[[Rewinding Internationalism]]==
	'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.		'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.

R Intan: /* Rewinding internationalism */

2026-03-02T12:54:31Z

Rewinding internationalism

← Older revision		Revision as of 12:54, 2 March 2026
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	==[[Rewinding Internationalism\|Rewinding internationalism]]==		==[[Rewinding Internationalism\|Rewinding internationalism]]==
	'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.		'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.

	The exhibition’s title draws on writer and theorist Ariella Aisha Azoulay’s call to ‘learn to rewind’, understanding that any engagement with a specific moment in time, necessitates addressing the relationship and inter-connections with different historical moments as part of an ongoing present as well as ‘unlearning’ concepts that may have become sedimented over time, as is the case with the construct of internationalism. It uses Azoulay’s writing as a prompt and an evocation: To address events in the past, not as over but as part of an ongoing present, a troubling of concepts such as the archive as neutral, and as means through which to question how we understand terms that we take to be descriptions of the world–such as internationalism.

	[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?

R Intan at 06:33, 23 February 2026

2026-02-23T06:33:52Z

← Older revision		Revision as of 06:33, 23 February 2026
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	[[File:Choreograph Knowledges.jpg\|thumb\|'''Choreographed Knowledges''', an exhibition by Museum of Contemporary Art Tokyo (MoT), 2025. Courtesy by MoT.]]		[[File:Choreograph Knowledges.jpg\|thumb\|'''Choreographed Knowledges''', an exhibition by Museum of Contemporary Art Tokyo (MoT), 2025. Courtesy of MoT.]]
	Some of the work included in this research trajectory was done by individuals that are now parts of [[Project:About\|Hyphen—]]. [[The planet from where we stand]] is indeed a research trajectory that answers to curiosities, needs, and desires of our peers. Under Enin Supriyanto and Yustina Neni's direction, [[Grace Samboh]] and [[Ratna Mufida]] came into this line of questionings whilst framing, constructing, and organising [[Simposium Khatulistiwa (2010-2018)]] (The Equator Symposium) that was a biannual event held in alternate year of The Jogja Biennale (Equator Series). With ''Konferensi Asia-Afrika'' (Bandung, 1955) as their departure, the symposium explored possibilities of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future.		Some of the work included in this research trajectory was done by individuals that are now parts of [[Project:About\|Hyphen—]]. [[The planet from where we stand]] is indeed a research trajectory that answers to curiosities, needs, and desires of our peers. Under Enin Supriyanto and Yustina Neni's direction, [[Grace Samboh]] and [[Ratna Mufida]] came into this line of questionings whilst framing, constructing, and organising [[Simposium Khatulistiwa (2010-2018)]] (The Equator Symposium) that was a biannual event held in alternate year of The Jogja Biennale (Equator Series). With ''Konferensi Asia-Afrika'' (Bandung, 1955) as their departure, the symposium explored possibilities of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future.

R Intan at 06:32, 23 February 2026

2026-02-23T06:32:53Z

← Older revision		Revision as of 06:32, 23 February 2026
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			[[File:Choreograph Knowledges.jpg\|thumb\|'''Choreographed Knowledges''', an exhibition by Museum of Contemporary Art Tokyo (MoT), 2025. Courtesy by MoT.]]
	Some of the work included in this research trajectory was done by individuals that are now parts of [[Project:About\|Hyphen—]]. [[The planet from where we stand]] is indeed a research trajectory that answers to curiosities, needs, and desires of our peers. Under Enin Supriyanto and Yustina Neni's direction, [[Grace Samboh]] and [[Ratna Mufida]] came into this line of questionings whilst framing, constructing, and organising [[Simposium Khatulistiwa (2010-2018)]] (The Equator Symposium) that was a biannual event held in alternate year of The Jogja Biennale (Equator Series). With ''Konferensi Asia-Afrika'' (Bandung, 1955) as their departure, the symposium explored possibilities of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future.		Some of the work included in this research trajectory was done by individuals that are now parts of [[Project:About\|Hyphen—]]. [[The planet from where we stand]] is indeed a research trajectory that answers to curiosities, needs, and desires of our peers. Under Enin Supriyanto and Yustina Neni's direction, [[Grace Samboh]] and [[Ratna Mufida]] came into this line of questionings whilst framing, constructing, and organising [[Simposium Khatulistiwa (2010-2018)]] (The Equator Symposium) that was a biannual event held in alternate year of The Jogja Biennale (Equator Series). With ''Konferensi Asia-Afrika'' (Bandung, 1955) as their departure, the symposium explored possibilities of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future.

R Intan: /* A roundabout: Blooming mementos, towards monuments */

2026-02-20T13:47:50Z

A roundabout: Blooming mementos, towards monuments

← Older revision		Revision as of 13:47, 20 February 2026
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	[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?
	==[[A roundabout: Blooming mementos, towards monuments]]==		==[[A roundabout: Blooming mementos, towards monuments]]==
	[[File:Eagle & Bear Exhibition in Bangkok, photo by Jukkrit Hanpipatpanich.jpg\|thumb\|'''A roundabout: Blooming mementos, towards monument''', a research showcase as part of ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe'', an exhibition at Jim Thompson Art Center & Bangkok Art and Culture Center, 3 April–7 July 2025. Courtesy of Jukkrit Hanpipatpanich.]]'''A roundabout: Blooming mementos, towards monuments''' is a research showcase by Hyphen—([[Andri Setiawan]], [[Grace Samboh]], [[Rachel K. Surijata]]), commissioned by Jim Thompson Art Center for The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe. Showcasing works of Arie Syarifudin, Basoeki Abdullah, chitarum, Edhi Sunarso, Kustiyah, Nadiah Bamadhaj, Nasikin Ahmad, Siti Ruliyati, and Viroj Chiamchirawat.		[[File:Eagle & Bear Exhibition in Bangkok, photo by Jukkrit Hanpipatpanich.jpg\|thumb\|'''A roundabout: Blooming mementos, towards monument''', a research showcase as part of ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe'', an exhibition at Jim Thompson Art Center & Bangkok Art and Culture Center, 3 April–7 July 2025. Courtesy of Jukkrit Hanpipatpanich.]]'''A roundabout: Blooming mementos, towards monuments''' is a research showcase by Hyphen—([[Andri Setiawan]], [[Grace Samboh]], [[Rachel K. Surijata]]), commissioned by Jim Thompson Art Center for ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe''. Showcasing works of Arie Syarifudin, Basoeki Abdullah, chitarum, Edhi Sunarso, Kustiyah, Nadiah Bamadhaj, Nasikin Ahmad, Siti Ruliyati, and Viroj Chiamchirawat.

	==References==		==References==
	{{reflist}}		{{reflist}}

R Intan: /* A roundabout: blooming mementos, towards monuments */

2026-02-20T13:02:45Z

A roundabout: blooming mementos, towards monuments

← Older revision		Revision as of 13:02, 20 February 2026
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	[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?
	==[[A roundabout: Blooming ~~mementos, towards monuments\|A roundabout: blooming~~ mementos, towards monuments]]==		==[[A roundabout: Blooming mementos, towards monuments]]==
	[[File:Eagle & Bear Exhibition in Bangkok, photo by Jukkrit Hanpipatpanich.jpg\|thumb\|'''A roundabout: Blooming mementos, towards monument''', a research showcase as part of ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe'', an exhibition at Jim Thompson Art Center & Bangkok Art and Culture Center, 3 April–7 July 2025. Courtesy of Jukkrit Hanpipatpanich.]]		[[File:Eagle & Bear Exhibition in Bangkok, photo by Jukkrit Hanpipatpanich.jpg\|thumb\|'''A roundabout: Blooming mementos, towards monument''', a research showcase as part of ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe'', an exhibition at Jim Thompson Art Center & Bangkok Art and Culture Center, 3 April–7 July 2025. Courtesy of Jukkrit Hanpipatpanich.]]'''A roundabout: Blooming mementos, towards monuments''' is a research showcase by Hyphen—([[Andri Setiawan]], [[Grace Samboh]], [[Rachel K. Surijata]]), commissioned by Jim Thompson Art Center for The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe. Showcasing works of Arie Syarifudin, Basoeki Abdullah, chitarum, Edhi Sunarso, Kustiyah, Nadiah Bamadhaj, Nasikin Ahmad, Siti Ruliyati, and Viroj Chiamchirawat.

	==References==		==References==
	{{reflist}}		{{reflist}}

R Intan: /* A roundabout: blooming mementos, towards monuments */

2026-02-20T12:51:54Z

A roundabout: blooming mementos, towards monuments

← Older revision		Revision as of 12:51, 20 February 2026
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	[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?
	==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==		==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==
			[[File:Eagle & Bear Exhibition in Bangkok, photo by Jukkrit Hanpipatpanich.jpg\|thumb\|'''A roundabout: Blooming mementos, towards monument''', a research showcase as part of ''The Shattered Worlds: Micro narratives from the Ho Chi Minh Trail to the Great Steppe'', an exhibition at Jim Thompson Art Center & Bangkok Art and Culture Center, 3 April–7 July 2025. Courtesy of Jukkrit Hanpipatpanich.]]

	==References==		==References==
	{{reflist}}		{{reflist}}

R Intan: /* Simposium khatulistiwa (2010-2018) */

2026-02-20T12:00:40Z

Simposium khatulistiwa (2010-2018)

← Older revision		Revision as of 12:00, 20 February 2026
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	==[[Simposium Khatulistiwa (2010-2018)\|Simposium khatulistiwa (2010-2018)]]==		==[[Simposium Khatulistiwa (2010-2018)\|Simposium khatulistiwa (2010-2018)]]==
	The '''equator symposium''' was a biannual event held in alternate year of The Jogja Biennale (Equator Series). Based on knowledge exchange, this symposium serves to expand the scope, work, and new networks built by The Jogja Biennale which in each of its events is limited to cooperate with one region or even one country in particular. This symposium is designed to maintain existing relationships and build new relationships between countries along the equator region.		'''The''' '''equator symposium''' was a biannual event held in alternate year of The Jogja Biennale (Equator Series). Based on knowledge exchange, this symposium serves to expand the scope, work, and new networks built by The Jogja Biennale which in each of its events is limited to cooperate with one region or even one country in particular. This symposium is designed to maintain existing relationships and build new relationships between countries along the equator region.

	[[Grace Samboh]] and [[Ratna Mufida]] were behind this symposium. They worked together under Enin Supriyanto and Yustina Neni's direction to questionings whilst framing, constructing, and organising The Equator Symposium.		[[Grace Samboh]] and [[Ratna Mufida]] were behind this symposium. They worked together under Enin Supriyanto and Yustina Neni's direction to questionings whilst framing, constructing, and organising The Equator Symposium.

R Intan: /* Rewinding internationalism */

2026-02-06T10:47:48Z

Rewinding internationalism

← Older revision		Revision as of 10:47, 6 February 2026
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	The exhibition’s title draws on writer and theorist Ariella Aisha Azoulay’s call to ‘learn to rewind’, understanding that any engagement with a specific moment in time, necessitates addressing the relationship and inter-connections with different historical moments as part of an ongoing present as well as ‘unlearning’ concepts that may have become sedimented over time, as is the case with the construct of internationalism. It uses Azoulay’s writing as a prompt and an evocation: To address events in the past, not as over but as part of an ongoing present, a troubling of concepts such as the archive as neutral, and as means through which to question how we understand terms that we take to be descriptions of the world–such as internationalism.		The exhibition’s title draws on writer and theorist Ariella Aisha Azoulay’s call to ‘learn to rewind’, understanding that any engagement with a specific moment in time, necessitates addressing the relationship and inter-connections with different historical moments as part of an ongoing present as well as ‘unlearning’ concepts that may have become sedimented over time, as is the case with the construct of internationalism. It uses Azoulay’s writing as a prompt and an evocation: To address events in the past, not as over but as part of an ongoing present, a troubling of concepts such as the archive as neutral, and as means through which to question how we understand terms that we take to be descriptions of the world–such as internationalism.

	[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the ~~new post~~-Cold War reality?		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the New Post-Cold War reality?
	==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==		==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==

	==References==		==References==
	{{reflist}}		{{reflist}}

R Intan: /* Rewinding internationalism */

2026-02-06T10:40:51Z

Rewinding internationalism

← Older revision		Revision as of 10:40, 6 February 2026
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	==[[Rewinding Internationalism\|Rewinding internationalism]]==		==[[Rewinding Internationalism\|Rewinding internationalism]]==
	'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes~~. It includes four new commissions and a number of collaborative research projects, alongside loans and archival material form public and private lenders~~. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.		'''Rewinding Internationalism''' is an exhibition and research project that engages with the construct of internationalism through multiple scenes. The departure point for the project is the 1990s–a period when the construct of internationalism was in deep flux across both political and cultural contexts.

	~~Rather than represent~~ a ~~series of histories, however~~, ~~works in~~ the ~~exhibition bring~~ moments, ~~places and people into dialogue~~. ~~The dialogue across research~~ and ~~artworks allow evocations and implications to speak across the 1990s to~~ the present ~~moment~~, ~~defined~~ as ~~it is by deepening~~ and ~~ongoing ecological and biopolitical crises and when~~ the ~~idea of~~ internationalism ~~is again in flux~~.		The exhibition’s title draws on writer and theorist Ariella Aisha Azoulay’s call to ‘learn to rewind’, understanding that any engagement with a specific moment in time, necessitates addressing the relationship and inter-connections with different historical moments as part of an ongoing present as well as ‘unlearning’ concepts that may have become sedimented over time, as is the case with the construct of internationalism. It uses Azoulay’s writing as a prompt and an evocation: To address events in the past, not as over but as part of an ongoing present, a troubling of concepts such as the archive as neutral, and as means through which to question how we understand terms that we take to be descriptions of the world–such as internationalism.

	~~The exhibition’s title draws on writer~~ and ~~theorist Ariella Aisha Azoulay’s call to ‘learn to rewind’, understanding that any engagement with a specific moment~~ in ~~time~~, ~~necessitates addressing~~ the ~~relationship and inter~~-~~connections with different historical moments as part of an ongoing present as well as ‘unlearning’ concepts that may have become sedimented over time~~, ~~as is the case with~~ the ~~construct~~ of ~~internationalism.~~		[[Grace Samboh]] and [[Rachel K. Surijata]] were involved in this project, focusing on the research of 1995 Non-Aligned exhibition. This research began long before the exhibition, when Grace first became interested in the National Gallery of Indonesia, whose collection includes a number of works exhibited in the 1995 exhibition. Through the research process, they tried to ask the question: what was the point of holding an exhibition within the framework of the Non-Aligned Movement in the 1990s, when the idea of ‘non-alignment’ in relation to Soviet socialism and US liberal democracy was no longer relevant in the new post-Cold War reality?

	~~It uses Azoulay’s writing as~~ a ~~prompt and an evocation: To address events~~ in the ~~past~~, ~~not as over but as part~~ of an ~~ongoing present, a troubling~~ of ~~concepts such as~~ the ~~archive as neutral~~, and ~~as means through which to question how we understand terms that we take to be descriptions of~~ the ~~world–such as internationalism.~~
	==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==		==[[A roundabout: Blooming mementos, towards monuments\|A roundabout: blooming mementos, towards monuments]]==

	==References==		==References==
	{{reflist}}		{{reflist}}