DARIVISUAL is a rubric that compiles articles containing reflective, speculative and even analytical narratives on certain issues in relation to the context of visual matters, written in interdisciplinary perspectives and approaches, especially from the arts and humanities.
Ismal built a gate that was placed at the end of Bangsal pier, and another gate in front of the vihara on the hill of Tebango Bolot Village: as two points which connected an imaginary straight line about the bond of friendship of the residents of Pemenang.
Zakaria and Javo. Their meeting produced a discussion about the action of discourse that imagined that the traditional art, that seemed to be treated like an antique all this time, could be present in a new way.
Asta, the monologue actor, got a valuable experience of collaboratively working process that he had done with the theater group before, and this time with ordinary people like himself, by freeing the aesthetics of art itself.
In Bangsal, Nash met the demographic of professions of inhabitants of Bangsal. They were porters, cidomo coachmen, Bangsal traders, and people who walked around the dock. Nash disturbed them. He expected none other than their reaction. The issue of garbage brought by Nash was an issue that he...
Surely Pemenang can be formulated as long as the consideration of what we refer to as 'on equal terms' should be prioritized. Once again it is not in the realm of material because I myself believe in the abstract ideas that are more perfect than reality itself, when we consider the hidden quality...
This article is a curatorial introduction to an exhibition, DIORAMA – Since History Is Fiction at Gudang Sarinah Ecosystem, 17-27 November 2016. It is also a part of an anthology published by Forum Lenteng, entitled Diorama: Since History Is Fiction (2016). We re-publish it on the AKUMASSA...
This article is part of an anthology published by Forum Lenteng, entitled Diorama: Since History is Fiction (2016). We re-publish it on AKUMASSA’s website in the framework of “Darivisual”. ince the beginning, I felt very restricted when I saw diorama. How can I not, through the presence of...
Although the visual of the diorama is three dimension that can be seen from many directions, the diversity of spectator views of the diorama are not as rich as it should be.
Enlargement from the already established mainstream narrative became the target of our framing, AKUMASSA-Diorama team, along with technology that we used which was camera and the possibility of zooming that allowed us to see things that are trapped inside glass box.
Ah! I was reminded of my friend’s experience when he was observing and taking a picture of diorama using a SLR camera with additional feature of tele lens.
