Fourteen years ago I got off the Taksaka Train from Gambir in Jakarta to Tugu Station in Yogyakar... more Fourteen years ago I got off the Taksaka Train from Gambir in Jakarta to Tugu Station in Yogyakarta. I then followed a map and walked to what was going to be my boarding house. It was not long until I realized; the UGM sign on the map showed only the most southern point; nowhere near my destination. I try to maintain the habit of walking throughout living in Yogyakarta though it has become the less effective mode of transport. One can hardly find any facility for pedestrians. Sidewalks have become more and more occupied with parked vehicles following the city's economy growth. Suffice to say, the pace of life in Yogyakarta expects you to ride and drive. Yogyakarta's inner-city streets are narrow while anything on wheels goes on them: becaks, bicycles, motorbikes, cars, buses, cartwheels pulled by men or horses, etc. The effect from the difference of speed and purpose carried by each vehicle is almost unpredictable, and the streets become overcrowded. Motorized becaks, commonly found in Yogyakarta streets now, with their size, shape and speed increase the intensity. I can assume that for some, being in a pedaled becak is somewhat inhumane; manpower behind the passenger seat. Nonetheless I still ride on it especially for two ways destination, because they would rather wait and not take an empty becak on their way back. Competition is high, now that motorbike services/ojek are accesible through smartphones. But if one look at the issue more carefully, motorbike becak is not a solution. Becak pedalers often live in their vehicle so it is in their nature to wait for passengers. When riding on a pedaled becak, you would have enough time to look around, and you might cherish that moment given to you through the strength of the pedaler. Each pedal reflects the city's spirit found in official slogans such as Jogja Slow City or Jogja the Special Region. So why speed up the pace? Why compensate on such change of quality when it only shows the inability of local authority to provide a better living for their residents? The management of the growth of the city of Yogyakarta is sorely substandard, if judged by the consistency of work on the labeled plans they designed themselves. Construction of hotels all over the place crowd out the homes, schools, and cultural heritage buildings. Transfer of landownership to large capital businesses frustrates many people, but only a few know how to make a complaint heard by policy makers. Ordinary citizens as well as observers of urban problems should be able to feel the ill effects of the acceleration of development under the present mayor of Yogya, and the accompanying cacophony of the branding of Jogja the Special Region. The absence of property rights to land is due to the people of Yogyakarta living on lands loaned from the Kraton. This condition weakens the position of the citizens who might actually wish to support growth, but do not have bargaining power against the financiers because they are living on borrowed land. Indeed, the initial city plan of Yogyakarta makes for an interesting study: growth on either side of the imaginary axis between the South Sea and Mount Merapi should make for a friendly city that would be relatively easy to manage. However, when the idea of the imaginary axis was brought forward, it was only to be drowned by the Free Market logic. It has demolished the rights of Yogya citizens and stupefies the thinkers who also grew up along the streets of Yogyakarta.
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Indonesian Visual Art Archive (IVAA) merupakan transformasi dari Yayasan Seni Cemeti (YSC) yang d... more Indonesian Visual Art Archive (IVAA) merupakan transformasi dari Yayasan Seni Cemeti (YSC) yang didirikan tahun 1995 oleh beberapa perupa, manajer seni, wartawan, dan aktivis budaya. Ketika itu, Yayasan Seni Cemeti didirikan untuk mengisi kekosongan infrastruktur seni rupa melalui praktek dokumentasi proses kekaryaan.
The ZanshŌ no Oto 5 video begins with three paragraphs on Okinawa's locations and the deaths of a... more The ZanshŌ no Oto 5 video begins with three paragraphs on Okinawa's locations and the deaths of a quarter of its population in 1945. The death rate was even worse after a morbid marching order was issued by the Japanese high officials to the local people: commit suicide. The sons were killed by their fathers, after they killed their mothers and sisters. The surviving ones were haunted for life by guilt for taking the lives of their loved ones. For less than 21 minutes, the video shows painting fragments by Iri and Toshi Maruki accompanied by a Yuji Takahashi's composition performed by Suigyu Gakudan music group. A song from Koukichi Nakaya's prose enriches the last five minutes, that the piece is a statement of his anxiety when watching a film starred by Akira Kobayashi. From the English subtitle in the video (00:21:23 -00:21:49): when people are being killed and dying in film everyone looks like dying with pleasure and happiness
Indonesia. Bukan proses yang sulit (seharusnya), mengingat kesadaran memperlakukan aksi sebagai p... more Indonesia. Bukan proses yang sulit (seharusnya), mengingat kesadaran memperlakukan aksi sebagai prakarsa seni dengan sebutan performance art, kebanyakan berlangsung di poros Jakarta-Bandung-Yogya-Bali. Bagaimanapun, informasi tidak bisa dikatakan utuh jika belum mengalami determinasi prioritas, kontekstualisasi, dan pengemasan. Penyebab kecanggungan mediasi tentang performance art di Indonesia saya curigai sebagai kegagalan pencatatan sejarah, dimana dokumentasi melulu dilakukan karena mitosnya, yakni sebagai wahana preservasi yang artifisial.
Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. P... more Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. Penelitian tersebut berjudul "Jaring Perempuan", dimulai dari halaman 179 - 209.
Fourteen years ago I got off the Taksaka Train from Gambir in Jakarta to Tugu Station in Yogyakar... more Fourteen years ago I got off the Taksaka Train from Gambir in Jakarta to Tugu Station in Yogyakarta. I then followed a map and walked to what was going to be my boarding house. It was not long until I realized; the UGM sign on the map showed only the most southern point; nowhere near my destination. I try to maintain the habit of walking throughout living in Yogyakarta though it has become the less effective mode of transport. One can hardly find any facility for pedestrians. Sidewalks have become more and more occupied with parked vehicles following the city's economy growth. Suffice to say, the pace of life in Yogyakarta expects you to ride and drive. Yogyakarta's inner-city streets are narrow while anything on wheels goes on them: becaks, bicycles, motorbikes, cars, buses, cartwheels pulled by men or horses, etc. The effect from the difference of speed and purpose carried by each vehicle is almost unpredictable, and the streets become overcrowded. Motorized becaks, commonly found in Yogyakarta streets now, with their size, shape and speed increase the intensity. I can assume that for some, being in a pedaled becak is somewhat inhumane; manpower behind the passenger seat. Nonetheless I still ride on it especially for two ways destination, because they would rather wait and not take an empty becak on their way back. Competition is high, now that motorbike services/ojek are accesible through smartphones. But if one look at the issue more carefully, motorbike becak is not a solution. Becak pedalers often live in their vehicle so it is in their nature to wait for passengers. When riding on a pedaled becak, you would have enough time to look around, and you might cherish that moment given to you through the strength of the pedaler. Each pedal reflects the city's spirit found in official slogans such as Jogja Slow City or Jogja the Special Region. So why speed up the pace? Why compensate on such change of quality when it only shows the inability of local authority to provide a better living for their residents? The management of the growth of the city of Yogyakarta is sorely substandard, if judged by the consistency of work on the labeled plans they designed themselves. Construction of hotels all over the place crowd out the homes, schools, and cultural heritage buildings. Transfer of landownership to large capital businesses frustrates many people, but only a few know how to make a complaint heard by policy makers. Ordinary citizens as well as observers of urban problems should be able to feel the ill effects of the acceleration of development under the present mayor of Yogya, and the accompanying cacophony of the branding of Jogja the Special Region. The absence of property rights to land is due to the people of Yogyakarta living on lands loaned from the Kraton. This condition weakens the position of the citizens who might actually wish to support growth, but do not have bargaining power against the financiers because they are living on borrowed land. Indeed, the initial city plan of Yogyakarta makes for an interesting study: growth on either side of the imaginary axis between the South Sea and Mount Merapi should make for a friendly city that would be relatively easy to manage. However, when the idea of the imaginary axis was brought forward, it was only to be drowned by the Free Market logic. It has demolished the rights of Yogya citizens and stupefies the thinkers who also grew up along the streets of Yogyakarta.
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Indonesian Visual Art Archive (IVAA) merupakan transformasi dari Yayasan Seni Cemeti (YSC) yang d... more Indonesian Visual Art Archive (IVAA) merupakan transformasi dari Yayasan Seni Cemeti (YSC) yang didirikan tahun 1995 oleh beberapa perupa, manajer seni, wartawan, dan aktivis budaya. Ketika itu, Yayasan Seni Cemeti didirikan untuk mengisi kekosongan infrastruktur seni rupa melalui praktek dokumentasi proses kekaryaan.
The ZanshŌ no Oto 5 video begins with three paragraphs on Okinawa's locations and the deaths of a... more The ZanshŌ no Oto 5 video begins with three paragraphs on Okinawa's locations and the deaths of a quarter of its population in 1945. The death rate was even worse after a morbid marching order was issued by the Japanese high officials to the local people: commit suicide. The sons were killed by their fathers, after they killed their mothers and sisters. The surviving ones were haunted for life by guilt for taking the lives of their loved ones. For less than 21 minutes, the video shows painting fragments by Iri and Toshi Maruki accompanied by a Yuji Takahashi's composition performed by Suigyu Gakudan music group. A song from Koukichi Nakaya's prose enriches the last five minutes, that the piece is a statement of his anxiety when watching a film starred by Akira Kobayashi. From the English subtitle in the video (00:21:23 -00:21:49): when people are being killed and dying in film everyone looks like dying with pleasure and happiness
Indonesia. Bukan proses yang sulit (seharusnya), mengingat kesadaran memperlakukan aksi sebagai p... more Indonesia. Bukan proses yang sulit (seharusnya), mengingat kesadaran memperlakukan aksi sebagai prakarsa seni dengan sebutan performance art, kebanyakan berlangsung di poros Jakarta-Bandung-Yogya-Bali. Bagaimanapun, informasi tidak bisa dikatakan utuh jika belum mengalami determinasi prioritas, kontekstualisasi, dan pengemasan. Penyebab kecanggungan mediasi tentang performance art di Indonesia saya curigai sebagai kegagalan pencatatan sejarah, dimana dokumentasi melulu dilakukan karena mitosnya, yakni sebagai wahana preservasi yang artifisial.
Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. P... more Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. Penelitian tersebut berjudul "Jaring Perempuan", dimulai dari halaman 179 - 209.
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Papers by Pitra Hutomo
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Books by Pitra Hutomo
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating
Approximating is a collaborative editorial project between DiscLab, Art Barricade, Hyphen, and The Maximilian. Read the introduction to Approximating http://discussionlab.com/projects/approximating