Project:About: Difference between revisions

From Hyphen—
Jump to navigation Jump to search
No edit summary
 
(17 intermediate revisions by 2 users not shown)
Line 2: Line 2:
Pardon the language mix. When we write essays, or even introductory text, we tend to write in our native, ''bahasa Indonesia''. But for this wiki, you'll read more in English.
Pardon the language mix. When we write essays, or even introductory text, we tend to write in our native, ''bahasa Indonesia''. But for this wiki, you'll read more in English.


===One-liner===
Since 2011, [[Project:About|Hyphen—]] is a research initiative that puts forward curiosity and common wellbeing as the estuary of artistic practices.
===Sepatah===
Sejak 2011, Hyphen— adalah prakarsa penelitian yang mengedepankan rasa penasaran dan kesejahteraan hidup bersama sebagai muara dari kerja-kerja kesenian.
[[File:Hyphen group photo 2025.jpeg|200px|right|thumb|Photo taken by M. Ilham SAM, courtesy of Hyphen—, 2025.]]
[[File:Hyphen group photo 2025.jpeg|200px|right|thumb|Photo taken by M. Ilham SAM, courtesy of Hyphen—, 2025.]]
===About us===
===About us===
[[Ratna Mufida]], [[Pitra Hutomo]], and [[Grace Samboh]] co-initiated Hyphen— in 2011 as a sustainable conversational space regarding aesthetic practices. Not long after, that space expanded through engagement in various artistic activities, including exhibition-making, various forms of publishing, archiving, research, open-ended conversations, karaoke, barbecue nights, feasts, etcetera. Hyphen— aims to put forward curiosity and people’s common wellbeing as the estuary of artistic practices. They were joined by [[Akmalia Rizqita “Chita”]] and [[Rachel K. Surijata]] (in 2020); as well as [[Ruhaeni Intan]] and [[Andri Setiawan]] (in 2023).
[[Ratna Mufida]], [[Pitra Hutomo]], and [[Grace Samboh]] co-initiated Hyphen— in 2011 as a sustainable conversational space regarding aesthetic practices. Not long after, that space expanded through engagement in various artistic activities, including exhibition-making, various forms of publishing, archiving, research, open-ended conversations, karaoke, barbecue nights, feasts, etcetera. Hyphen— aims to put forward curiosity and people’s common wellbeing as the estuary of artistic practices. They were joined by [[Akmalia Rizqita “Chita”]] and [[Rachel K. Surijata]] (in 2020); as well as [[Ruhaeni Intan]] and [[Andri Setiawan]] (in 2023).
Line 9: Line 15:


===Tentang kami===
===Tentang kami===
[[Ratna Mufida]], [[Pitra Hutomo]], and [[Grace Samboh]] menggagas Hyphen—, pada 2011, sebagai ruang percakapan yang berkesinambungan mengenai masa lalu praktik estetik di sekitar mereka. Tak berapa lama kemudian, Hyphen— memperluas ruang percakapan tsb dengan melibatkan diri dalam beragam kegiatan artistik mulai dari pembuatan pameran, bermacam penerbitan, kerja pengarsipan dan penelitian, percakapan terbuka, karaoke, bakar-bakar serta makan-makan, dan lain sebagainya. Cita-cita Hyphen— adalah mengedepankan rasa penasaran dan kesejahteraan hidup bersama sebagai muara dari kerja-kerja kesenian. Sejak 2020, [[Akmalia Rizqita “Chita”]] dan [[Rachel K. Surijata]] ikut bergerak bersama Hyphen—; demikian juga [[Ruhaeni Intan]] dan [[Andri Setiawan]] (2023).
[[Ratna Mufida]], [[Pitra Hutomo]], dan [[Grace Samboh]] menggagas Hyphen—, pada 2011, sebagai ruang percakapan yang berkesinambungan mengenai masa lalu praktik estetik di sekitar mereka. Tak berapa lama kemudian, Hyphen— memperluas ruang percakapan tsb dengan melibatkan diri dalam beragam kegiatan artistik mulai dari pembuatan pameran, bermacam penerbitan, kerja pengarsipan dan penelitian, percakapan terbuka, karaoke, bakar-bakar serta makan-makan, dan lain sebagainya. Cita-cita Hyphen— adalah mengedepankan rasa penasaran dan kesejahteraan hidup bersama sebagai muara dari kerja-kerja kesenian. Sejak 2020, [[Akmalia Rizqita “Chita”]] dan [[Rachel K. Surijata]] ikut bergerak bersama Hyphen—; demikian juga [[Ruhaeni Intan]] dan [[Andri Setiawan]] (2023).
 
Sekarang, mereka berulang-alik antara kerja penelusuran praktek artistik ''Seni Rupa Baru (1975-1989)'', ''Kustiyah (1935-2012)'', dan ''Danarto (1940-2018)''; sejarah penyelenggaraan pameran ''Kesenian Indonesia (1955)'', ''BINAL Experimental Arts (1992)'', dan pameran ''Seni Kontemporer Negara-negara Non-Blok (1995)''; sembari berusaha mengaji apa yang disebut sebagai sejarah nasional Indonesia melalui benda-benda kerupaan.
 
==Around now==


Sekarang, mereka berulang-alik antara kerja penelusuran praktek artistik ''Seni Rupa Baru (1975-1989)'', ''Kustiyah (1935-2012)'', dan ''Danarto (1940-2018)''; sejarah penyelenggaraan pameran ''Kesenian Indonesia (1955)'', ''BINAL Experimental Arts (1992)'', dan pameran ''Seni Kontemporer Negara-negara Non-Blok (1995)''; sembari berusaha mengaji apa yang disebut sebagai sejarah nasional Indonesia melalui benda-benda kerupaan.  
Currently, we are finalising two monographs, one of ''Danarto (1940-2018)'' and another of ''Kustiyah (1935-2012)''; cooking up our curatorial contributions for [https://www.singaporeartmuseum.sg/Art-Events/Exhibitions/Singapore-Biennale-2025 Singapore Biennale 2025: pure intentions]; compiling Danarto's children stories and hopefully publishing it into a book; getting ready for the launch of Danarto dkk.'s English translation of Danarto's short stories on and around Palestine (1968-2009) ''From Jerusalem to Armageddon'' that will be published the journal [https://southeastofnow.com Southeast of Now]; whilst translating a selection of texts from [https://learningpalestine.net learningpalestine.net] to bahasa Indonesia to be broadcasted at [https://www.radioalhara.net Radio Alhara] every first Wednesday of the month with [https://www.instagram.com/nayamullah Nayamullah Station].
 
Recent archival showcases and research presentations includes ''A roundabout: Blooming mementos, towards monument'' as part of [https://www.jimthompsonartcenter.org/exhibitions/the-shattered-worlds-micro-narratives-from-the-ho-chi-minh-trail-to-the-great-steppe The shattered worlds: Micro narratives from the Ho Chi Minh Trail to The Great Steppe] in Jim Thompson Art Center & Bangkok Art & Culture Center (2025); ''Taman Bacaan Danarto: ARCUS'' in their [https://www.arcus-project.com/en/event/2024-open-studios/ 2024 Open Studios], at ARCUS, Moriya (2024); and ''As if there is no sun'' that won the [https://carnegieart.org/international/2022-carnegie-international/prize-winners/ Fine Prize Award] at the 58th Carnegie International, Pittsburgh (2022).


==We are==
==We are==
Line 43: Line 55:


Writer, researcher.
Writer, researcher.
==Research trajectories==
===[[Indonesia New Art Movement (1975-1989)]]===
Archiving and publishing a monograph on Gerakan Seni Rupa Baru Indonesia (1975-1989).
===[[Kus, et al.]]===
Research, archiving, artworks' database, and various publications on a possible peer group of artists born in 1930s, namely Kustiyah, Sriyani, Siti Ruliyati, and Kartika.
===[[Proses adalah ketika kita. (Process is when we.)]]===
Looks into Danarto (b. 1940, Sragen; d. 2018, Jakarta).
===[[Sketches, stitches, and negotiations: Unravelling Indonesia’s national history through its visual representations]]===
Rethinking the visuals of the national history of Indonesia through historical dioramas that was made under the supervision of Edhi Sunarso (b. 1932, Salatiga; d. 2016, Yogyakarta).
===[[The planet from where we stand]]===
Acknowledging past views on international engagements through Konferensi Asia Afrika (Asian-African Conference, Bandung, 1955) and its accompanying festivities; Jakarta-Paris 1959-1960 Exhibition (Jakarta, 1992), and Contemporary Art Exhibition from Non-Aligned Countries (Jakarta, 1995), amongst others.


==Our office==
==Our office==
Line 56: Line 80:
[https://goo.gl/maps/xVmLVMMrzVGJzHF29 Location in Google Maps]<br>
[https://goo.gl/maps/xVmLVMMrzVGJzHF29 Location in Google Maps]<br>
<br>
<br>
We have one guest room (for two) and another one (for one) that we sometimes rent out. Details are on [www.airbnb.com/h/rukan AirBNB], but we never really used the platform. So, if you are in need or interested, find a way to talk to us about it :)
We have one guest room (for two) and another one (for one) that we sometimes rent out. Details are on [http://www.airbnb.com/h/rukan AirBNB], but we never really used the platform. So, if you are in need or interested, find a way to talk to us about it :)


==Reach us==
==Reach us==
Line 62: Line 86:
We definitely check our [mailto:hyphen.rpg@gmail.com email] :)
We definitely check our [mailto:hyphen.rpg@gmail.com email] :)


==Research trajectories==
==[https://hyphen.web.id/blog/ Our blog]==
===[[Indonesia New Art Movement (1975-1989)]]===
Sometimes, we also write articles about art and everything else. There are also translation works. You can check and read it here!
===[[Kus, et al.]]===
 
A girl is painting the scenery of the ocean and several boats. Dressed in long bright-colored pants and loose long-sleeved top, her long black hair was braided. The girl shifts poses while she paints. Sometimes she would sit down on the grass, sometimes she’d squat; whatever works to paint, really. An angle of this scenery was captured by Udy SH from a beach, in Tegal, Central Java, September 1956, and the photo was published in SIASAT magazine with the caption: ASRI student Kustiyah painting the landscape of a beach in Tegal. Another angle of this scenery can be seen in Kustiyah’s family archive, where you’ll see her wearing a bamboo-weaved head cover, typically worn by farmers or fishermen. The sun was indeed high up and it would have been about 26 to 30℃ when Kustiyah was painting —hence covering almost all of her skin, plus the hat. Curiously, a glimpse on her oeuvre would show you that the hue of her paintings are cold, with the dominant ambience of greenish or bluish colors.
 
This research trajectory aims to unravel stories about, behind, and surrounding the lifelong artistic practice of the painter Kustiyah (1935-2012), who began studying in Yogyakarta’s art school ASRI in 1953, the era that is said to be the golden years of the newly independent country, Indonesia. We began from Kustiyah as her works are made accessible through Griya Seni Hj. Kustiyah & Edhi Sunarso. In fact, her late husband Edhi Sunarso built the space for her —hence its name. 35 paintings of Kustiyah are hung there with labels, but not so much accompanying information, let alone explanation, on her practice or life stories are there nor would it be accessible in the so-called art historical writings in Indonesia. The paintings, along with some works on paper (be it sketches, drawings, or printmakings), came from all periods of her life which simply meant that she had never stopped painting, ever.
 
Why haven’t we read about her, anywhere? Have her stories ever been told? What kept her painting, all her life? Where were they exhibited, if ever? What might these paintings mean for her? What do her peers think about her? Who were her peers, if they existed? Through a handful of documents, photographs, and group exhibition catalogues, we managed to discover several of her peers, such as Siti Ruliyati (b. 1930, first generation student of ASRI, in 1950), Sriyani Hudyonoto (1930-2006, first generation student of the Bandung art school ITB, in 1950), and Kartika (b. 1934, self-taught). There were more, of course, but we thought of these women because right after Kustiyah’s art school days are over, and after the major political change due to the communist-alleged genocide in 1965, the group exhibitions that she would be included in are either all-women exhibitions or exhibitions that traces the genealogy of revolutionary-related artists and their attempts of formalizing the practice of ‘art-for-people’ through formal (art schools) and non-formal educational (sanggar/studios) channels.
 
The working title of this research, As if there is no sun… (Seakan-akan tidak ada matahari), is excerpted from a review published in Harian Rakyat, “[Sanggar Pelukis Rakyat/People’s Painters Studio] paintings made it feel as if there is no sun in Indonesia.” Written by Nugroho, the review poses an on-point critique upon the exhibition of artists from Pelukis Rakyat, in Gedung Pemuda Jakarta, in February 1957. Indeed, a certain kind of darkness, cloud, or even eeriness are vivid in the so-called revolutionary painters’ generation, such as Hendra Gunawan and Affandi, or those of other artists groups or studios such as Sudjojono and Soedibyo. It is as if, to paint the ray of sun and its warmth would immediately exoticize their subject matter, the [common] people, their struggles and their mundane reality, much like what they were fighting against with the colonial painters. Kustiyah and Siti Ruliyati were younger members of Pelukis Rakyat. Not only that, lecturers in their art school would have also been people from the same group or coming from similar
revolutionary-spirited groups. With that as a background, we wonder, … Why aren’t their names written in the so-called art history? Did they have to be saying the same things, writing the same things, painting the same things to be recognized, to be written, to simply be included? Is this diversity —of perspectives, of art practices— so unfavorable? Have there been any attempts in writing their life stories? Had they been so insignificant, why would the different state-collections have their works? What was the necessity of collecting their works? 
 
===[[Proses adalah ketika kita. (Process is when we.)]]===
===[[Sketches, stitches, and negotiations: Unravelling Indonesia’s national history through its visual representations]]===
===[[The planet from where we stand]]===

Latest revision as of 06:27, 8 January 2026

Hyphen—

Pardon the language mix. When we write essays, or even introductory text, we tend to write in our native, bahasa Indonesia. But for this wiki, you'll read more in English.

One-liner

Since 2011, Hyphen— is a research initiative that puts forward curiosity and common wellbeing as the estuary of artistic practices.

Sepatah

Sejak 2011, Hyphen— adalah prakarsa penelitian yang mengedepankan rasa penasaran dan kesejahteraan hidup bersama sebagai muara dari kerja-kerja kesenian.

Photo taken by M. Ilham SAM, courtesy of Hyphen—, 2025.

About us

Ratna Mufida, Pitra Hutomo, and Grace Samboh co-initiated Hyphen— in 2011 as a sustainable conversational space regarding aesthetic practices. Not long after, that space expanded through engagement in various artistic activities, including exhibition-making, various forms of publishing, archiving, research, open-ended conversations, karaoke, barbecue nights, feasts, etcetera. Hyphen— aims to put forward curiosity and people’s common wellbeing as the estuary of artistic practices. They were joined by Akmalia Rizqita “Chita” and Rachel K. Surijata (in 2020); as well as Ruhaeni Intan and Andri Setiawan (in 2023).

They currently play with explorations on the practices of Indonesia New Art Movement (1975-1989), Kustiyah (1935-2012), and Danarto (1940-2018); exhibition histories surrounding Kesenian Indonesia (Indonesian Art, 1955), BINAL Experimental Arts (1992), Contemporary Art Exhibition of the Non-Aligned Countries (1995); while attempting to unravel Indonesia’s so-called national history through its official visual representations.

Tentang kami

Ratna Mufida, Pitra Hutomo, dan Grace Samboh menggagas Hyphen—, pada 2011, sebagai ruang percakapan yang berkesinambungan mengenai masa lalu praktik estetik di sekitar mereka. Tak berapa lama kemudian, Hyphen— memperluas ruang percakapan tsb dengan melibatkan diri dalam beragam kegiatan artistik mulai dari pembuatan pameran, bermacam penerbitan, kerja pengarsipan dan penelitian, percakapan terbuka, karaoke, bakar-bakar serta makan-makan, dan lain sebagainya. Cita-cita Hyphen— adalah mengedepankan rasa penasaran dan kesejahteraan hidup bersama sebagai muara dari kerja-kerja kesenian. Sejak 2020, Akmalia Rizqita “Chita” dan Rachel K. Surijata ikut bergerak bersama Hyphen—; demikian juga Ruhaeni Intan dan Andri Setiawan (2023).

Sekarang, mereka berulang-alik antara kerja penelusuran praktek artistik Seni Rupa Baru (1975-1989), Kustiyah (1935-2012), dan Danarto (1940-2018); sejarah penyelenggaraan pameran Kesenian Indonesia (1955), BINAL Experimental Arts (1992), dan pameran Seni Kontemporer Negara-negara Non-Blok (1995); sembari berusaha mengaji apa yang disebut sebagai sejarah nasional Indonesia melalui benda-benda kerupaan.

Around now

Currently, we are finalising two monographs, one of Danarto (1940-2018) and another of Kustiyah (1935-2012); cooking up our curatorial contributions for Singapore Biennale 2025: pure intentions; compiling Danarto's children stories and hopefully publishing it into a book; getting ready for the launch of Danarto dkk.'s English translation of Danarto's short stories on and around Palestine (1968-2009) From Jerusalem to Armageddon that will be published the journal Southeast of Now; whilst translating a selection of texts from learningpalestine.net to bahasa Indonesia to be broadcasted at Radio Alhara every first Wednesday of the month with Nayamullah Station.

Recent archival showcases and research presentations includes A roundabout: Blooming mementos, towards monument as part of The shattered worlds: Micro narratives from the Ho Chi Minh Trail to The Great Steppe in Jim Thompson Art Center & Bangkok Art & Culture Center (2025); Taman Bacaan Danarto: ARCUS in their 2024 Open Studios, at ARCUS, Moriya (2024); and As if there is no sun that won the Fine Prize Award at the 58th Carnegie International, Pittsburgh (2022).

We are

Photo taken by M. Ilham SAM, courtesy of Hyphen—, 2025.

Ratna Mufida

Art worker, researcher.

Pitra Hutomo

Knowledge management facilitator for civil society groups.

Grace Samboh

Writer, researcher, program director for RUBANAH Underground Hub.

Akmalia Rizqita “Chita”

Researcher, comic artist.

Rachel K. Surijata

Art worker, researcher.

Ruhaeni Intan

Novelist, writer, researcher.

Andri Setiawan

Writer, researcher.

Research trajectories

Indonesia New Art Movement (1975-1989)

Archiving and publishing a monograph on Gerakan Seni Rupa Baru Indonesia (1975-1989).

Kus, et al.

Research, archiving, artworks' database, and various publications on a possible peer group of artists born in 1930s, namely Kustiyah, Sriyani, Siti Ruliyati, and Kartika.

Proses adalah ketika kita. (Process is when we.)

Looks into Danarto (b. 1940, Sragen; d. 2018, Jakarta).

Sketches, stitches, and negotiations: Unravelling Indonesia’s national history through its visual representations

Rethinking the visuals of the national history of Indonesia through historical dioramas that was made under the supervision of Edhi Sunarso (b. 1932, Salatiga; d. 2016, Yogyakarta).

The planet from where we stand

Acknowledging past views on international engagements through Konferensi Asia Afrika (Asian-African Conference, Bandung, 1955) and its accompanying festivities; Jakarta-Paris 1959-1960 Exhibition (Jakarta, 1992), and Contemporary Art Exhibition from Non-Aligned Countries (Jakarta, 1995), amongst others.

Our office

Where our library and collection is at.

This is not merely our postal (and shipping) address details, but also where we work–most of the times–and where we hang out and play.

Rumah Kantor #Rukan
 Pugeran MJ II/331
Suryodiningratan, Mantrijeron
Kota Yogyakarta, DI Yogyakarta
INDONESIA
55141
Location in Google Maps

We have one guest room (for two) and another one (for one) that we sometimes rent out. Details are on AirBNB, but we never really used the platform. So, if you are in need or interested, find a way to talk to us about it :)

Reach us

We're not too diligent in checking it, but we do have an Insta account here.
We definitely check our email :)

Our blog

Sometimes, we also write articles about art and everything else. There are also translation works. You can check and read it here!

Retrieved from "https://hyphen.web.id/index.php?title=Project:About&oldid=872"