THE ANALYSIS OF COMMUNITY-BASED ART IN THE IMPLEMENTATION OF JAKARTA BIENNALE 2013 SIASAT

• Main Author: TOPAN (NIM: 27014013), ASEP
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/21281
• Institution: Institut Teknologi Bandung

Since 2009, Jakarta Biennale has stood as a biannual and an international <br /> <br /> <br /> contemporary art exhibition. As an institution, Jakarta Biennale was established <br /> <br /> <br /> in 1974 as part of the Jakarta Arts Council visual arts committee’s program. <br /> <br /> <br /> Hence, a foundation named Jakarta Biennale Foundation (Yayasan Jakarta <br /> <br /> <br /> Biennale) was formed afterwards to host the Jakarta Biennale event in 2015. <br /> <br /> <br /> This research focuses on the Jakarta Biennale 2013 SIASAT (JB 2013 SIASAT). <br /> <br /> <br /> JB 2013 SIASAT presented during the transitional process of the organizing <br /> <br /> <br /> institutions, from the Jakarta Art Council to the Jakarta Biennale Foundation. <br /> <br /> <br /> From its artistic sides, JB 2013 SIASAT put emphasize to the community-based <br /> <br /> <br /> art. This research explores two main topics. First, as an exhibition study, this <br /> <br /> <br /> research analyses how “siasat” (tactic) as the curatorial articulation of JB 2013 <br /> <br /> <br /> SIASAT was manifested in the biennale. Second, this study highlights on how the <br /> <br /> <br /> community-based art was presented in the context of JB 2013 SIASAT. The <br /> <br /> <br /> analysis uses Moelyono’s project titled “Art Goes to Village Tactic” in the <br /> <br /> <br /> biennale as the case study. <br /> <br /> <br /> This research employs qualitative method, which puts an exhibition as the object <br /> <br /> <br /> of study. For the analysis purpose, this study chooses the Exhibition Studies as its <br /> <br /> <br /> analytical method. This method examines contemporary art exhibitions through <br /> <br /> <br /> detailed case studies and analysis, as well as dissects the developments of the <br /> <br /> <br /> exhibition’s practical, theoretical, cultural, and socio-political aspects. In <br /> <br /> <br /> conjunction with the author’s role as one of the artist assistant in the <br /> <br /> <br /> implementation of JB 2013 SIASAT, this research uses the ethnographic approach <br /> <br /> <br /> to collect data. The author conducted in-depth observation during the exhibition’s <br /> <br /> <br /> production process and its actual event. <br /> <br /> <br /> The findings show that the concept of “siasat” (tactic) in the JB 2013 SIASAT <br /> <br /> <br /> does not only represent the citizen’s tactics through art projects or the <br /> <br /> <br /> community-based art. The concept of "siasat" also applies as one of the idea on <br /> <br /> <br /> how the biennale operates its management. This research conveys that the <br /> <br /> <br /> statement from the organizers, which indicates the biennale as a "bottom-up" <br /> <br /> <br /> biennale was not translated into the curatorial authorship. The term "bottom-up" <br /> <br /> <br /> biennale refers as a biennale that is initiated by contemporary artists or by a <br /> <br /> <br /> particular group of contemporary artists. <br /> <br /> <br /> In regards to the presentation models of community-based art projects and works, <br /> <br /> <br /> this research suggests three different modes of presentation in the JB 2013 <br /> <br /> <br /> SIASAT. First, presentation is to present the art projects at the specific locations, <br /> <br /> <br /> where the art projects were performed. Second presentation is to display the <br /> <br /> <br /> community-based art projects in the exhibition spaces as ‘extracting’ and <br /> 'highlighting' actions. The third model of presentation is an act of presenting the <br /> <br /> <br /> actual community-based art projects at the exhibition space. <br /> <br /> <br /> The research illustrates how the curatorial articulation of JB 2013 was enacted. <br /> <br /> <br /> The analysis reveals that the articulation has influenced how the communitybased <br /> <br /> <br /> art practices presented in a large-scale exhibition. As an art event, the <br /> 'extracting' process that was carried out by the biennale's artistic team, had <br /> <br /> <br /> potentially distorted the presentation of community-based art practices. In other <br /> <br /> <br /> words, the 'sophistication' process that became a curatorial statement in the JB <br /> <br /> <br /> 2013 SIASAT did not perform on several layers. It applied the other way around <br /> <br /> <br /> instead.