BACKTRACK Darker Half Asia Tour 2012:

01/31 – Bali, ID @ Planet Hollywood
02/01 – Malang, ID @ Hugos Cafe
02/02 – Jogjakarta, ID @ JNM
02/03 – Jakarta, ID @ Rosi Musik
02/04 – Bandung, ID @ KSC Kopo
02/05 – Kuala Lumpur, MY @ Doppel Cafe
02/07 – Muar, MY @ Riveratone
02/08 – Singapore, SG @ White House
02/10 – Manila, PH @ Ten 02 Bar
02/11 – Bangkok TH @ Immortal Bar
02/12 – Guangzhou, CH @ Musician
02/14 – Wuhan, CH @ VOX
02/15 – Shanghai, CH @ Yu Yin Tang
02/16 – Nanjing, CH @ 61 House
01/17 – Beijing, CH @ MAO
02/18 – Seoul, KR @ Club Spot
02/19 – Busan, KR @ Rock House
02/22 – Niigata Sanjo, JP @ Rocket Pink
02/23 – Kawasaki, JP @ Bottoms up
02/24 – Osaka, JP @ Clapper
02/25 – Tokyo Koiwa, JP @ Orpheus
02/26 – Nagoya, JP @ BL Studio Wakamiya

Karim Raslan: Biennale Bravado
Karim Raslan | December 01, 2011

A blurry video in a darkened room, a small ficus bush and a partially obscured screen. Akiq Aw’s exploration of the shadowy world between faiths is both haunting and yet strangely banal as a nondescript and unremarkable man recounts his personal journey from Islam to Christianity. Later a woman describes her path in the opposite direction.

In another room, similarly darkened, the artist Krisnamurti has placed a jilbab-wearing woman on the floor. A video is projected across her body. We look on as the ebb and flow of the tide appears to course over her silent, unmoving form. Meanwhile, the near-deafening soundtrack of water crashing on the shore is likewise mesmerizing.

In yet another room, the Indian artist N.S. Harsha has splattered paint on the raw concrete. It’s a diagonal gash that seems to represent both an artist at work (pace Jackson Pollock) as well as Creation itself, as the Big Bang unfurls across the cosmos.

Contemporary art biennales are often an exercise in confusion and dysfunctionality: strange installations, incoherent videos and ugly paintings, reveling in their manifest lack of artistry. But while the recently opened Jogja Biennale (the city’s 11th) has its fair share of non sequiturs, the event is held together by an unflinching curatorial focus, namely the decision to highlight only two countries — India and Indonesia — and one theme: religiosity.

The ensuing result is an exciting and eye-opening survey of art and contemporary concerns from two of Asia’s largest nations: one predominantly Hindu, the other Muslim, and both avowedly secular.

Interestingly, the art from both countries is resolutely centrist and plural. Fears of and concerns about extremism and bigotry are interspersed with pleas for tolerance and mutual understanding with a sideways glance at the gradual erosion and disappearance of the traditional, local myths and folklore. To my mind (but maybe I’m biased since I’ve long been one of the Biennale’s supporters) the ambitiousness and sheer bravado of the venture is quite enthralling.

I like the way that artists, writers and curators from both countries have come together, dispensing with the accepted metropolitan centers of validation and supposed excellence. London, Paris and New York are forgotten as the art displayed creates its own intriguing linkages and juxtapositions between Yogyakarta, Jakarta, Mumbai, Mysore and Delhi.

According to the director of the Biennale Foundation running the operations, the next Biennale will focus on an Arab nation. As Egypt goes through the throes of its own “reformasi,” I only hope that it’ll be the chosen country, providing a fascinating counterpoint to Indonesia.

Of course, the bonds between India and Indonesia will be hard to equal. The ties between the two are profound and deep — deeper indeed than the bonds that link Indonesia with China. Moreover, on the south-facing plains of Central Java with Mount Merapi as a silent sentinel, the historical and cultural traces of the relationship — Prambanan and Borobudur — remain as haunting presences of an interaction that has spanned the millennia.

In more modern times, India and Indonesia supported each other’s independence movements. Furthermore, in the 1950s and ’60s, Sukarno and Jawaharlal Nehru were the twin pillars of the Non-Aligned Movement. Now, after decades of less intense relations, India and Indonesia are fast regaining interest in each other, as the Biennale demonstrates.

While I’m not sure if the artists themselves realize it, the Biennale suggests that India and Indonesia mean to also assert themselves both culturally and economically. This is going to be the beginning of a marked increase in engagement between the two Asian giants. Recognizing this trend, the Biennale’s organizers made a big point about stressing the documentary aspects of the collaboration and the need to increase Indonesian understanding of India.

Still, the real surprise was the enormous number of art lovers at the Biennale’s opening night. With literally thousands of people cramming into the Jogja National Museum (most of them young students) the city displayed its dynamism and openness to the arts. As the Indian co-curator Suman Gopinath told me, “The sheer number of people is amazing. Besides that, the Biennale shows what you can achieve with limited funds and infrastructure.”

The Jogja National Museum is not the Guggenheim or the Tate Modern. Nonetheless, it has both the art and the audience, an audience that believes in the centrality of human expression and creativity.

Karim Raslan is a columnist who divides his time between Malaysia and Indonesia.

About Karim Raslan

KRA GROUP » CEO Profile

Karim Raslan-Facebook Profile

Karim was born in Malaysia in 1963. Educated in both Malaysia and England, he read English and Law at St Johns’ College, Cambridge. Over the past twenty-two years, he has spent his time as a columnist, lawyer and regional anlyst. He writes a regular column for The Star, Sin Chew Daily, Sinar Harian, Berita Harian (Singapore), Dewan Masyarakat, South China Morning Post and Jakarta Globe. He also contributes to other regional and international publications. Karim divides his time between Malaysia, Indonesia and the Philippines..

PIECES OF MINORITY VOL.01
p r i m e . e v en t J B D C

27 November 2011
at Jogja National Museum (JNM)
doors: 11.00 – all ages
HTM: 8.000 | PRE SALE TICKET: 5.000

with:
KNOCKDOWN (jogja)
KUDA BESI (jogja)
BLOODYDIE (magelang)
I KILLED MY HONEY (kediri)
TALE OF DESTRUCTION (kediri)
SOMETHING FOR CONTINUE (tangerang)
GET OFF ! (jogja)
SINDROM LUAR KOTA (salatiga)
SCREAM OF SUFFER (klaten)
RAZE OF HATRED (klaten)
SCREAM AFTER DIE (klaten)
ROCKER DRAMATIC (klaten)
KARENA MEREKA (wates)
ALAT BERAT (wates)
KEPITING REBUS (wates)
OSCURIDAD (surabaya)
SCARY JOB (surabaya)
BLOOD OF MURDER (surabaya)
LONG DAY AFTER DIE (surabaya)
FATAL ENGAGE (jogja)
BREATHING AND GRASPING (jogja)
THIRA (jogja)
MESSOR IN ATHENA (jogja)
BEAUTY DISASTER (jogja)
VIOLENCE CRASH (jogja)
SAIBABA (jogja)
IT NEVER ENDS (jogja)
DUSKY MONTH (jogja)
LOPIES (jogja)
OCTOBER RAIN (temanggung)

Cp: 08995114352 (Sigit)

GET OUT FROM YOUR SCENE!! Sabtu, 19 nov 2011 | 4-11 pm @ JNM, #jogja | feat : ARPAPPEL, HANDS OF MIDAS, MY DEAR ARE ENEMY, ORTHRUS, WOUND, DAY DREAMER, KILLED ON JUAREZ. And others from Blitar: AJTHC, DESIRES, SAMPAH DUNIA, ONE MORE TIME, LAST TRAIN TO HEAVEN

SAI HIROKO

• “Best Friend of UNESCAP (United Nations Economic and Social Commission for Asia and the Pacific)”
• Permanent Member of the Musee des Arts Decoratifs at The Louvre Museum, Paris, France
• Affiliate Professor of Chiba National University, Japan
• Private Museum in World Heritage ‘Ledoux Ideal City’ / La Saline Royale, France

Using color, light, sound and visuals to stimulate the five senses, creates Environmental Art for cities, architecture and landscapes around the world.

Major Works

• One-person exhibit at Centre National d’Art et de Culture Georges Pompidou
• One-person exhibit at the United Nations Educational, Scientific, and Cultural Organization (UNESCO) Headquarters’ 50^th Anniversary event
• One-person exhibit in La Saline Royale d’Arc-et-Semans, UNESCO World Heritage Site
• The Sai Multimedia Museum, the first museum dedicated to a single artist in a World Heritage Site, La Saline Royale, France
• Message Art “Solidarity of the World” , France
• Permanent exhibit of “Culture of Peace” Symbol Art at United Nations Economic and Social Commission for Asia and the Pacific (UNESCAP) Headquarters, Bangkok, Thailand
• Main Artist at Carthage International Festival, the “Cultural Olympics” with participation of Ministries of Culture worldwide.
• Design of the Ceremony Hall for the Nobel Peace Prize 100th Anniversary Ceremony
• Production of the main monument of 2005 Aichi Expo and producer of the “Aichi Art Award 2005″
• Environmental Art monument “Umi Hotaru”, on the Tokyo Bay Aqua Line Bridge
• Environmental Art “Yu-Waku” (“Temptation”) at Yokohama Landmark Tower

Awards

• the prize of the Academie de Beaux-Arts,
• the French Government Awards in Paris Exposition,
• the International Art Culture Decoration Award’,
• the World Prize, and others.

Filled successively

• Chairperson of the EU Cultural Exchange Center
• Honored Citizen of Coral Cables, Florida, USA
• Commissioner of Landscape, Ministry of Construction, Japan
• Project Advisor, NHK Broadcasting and Japan Railway East, etc.

Keynote Speeches

• 50^th Anniversary, Japanese Ministry of Construction, and for many other nations, prefectures, cities, and enterprises