OUT OF JOINT

EVERYTHING SEEMS TO BE PREGNANT WITH ITS CONTRARY artists :

MALCOLM SMITH

PRIHATMOKO MOKI

RUDI HERMAWAN

Writer and Curator Roy Voragen issuu.com/royvoragen

OUT OF JOINT

- K A R L M A R X

Dia.lo.gue Artspace presents the group exhibition Out of Joint, which features the latest works by Yogyakarta-based artists Rudi – aka Rudi Lampung – Hermawan (rudihermawan.weebly.com), Malcolm Smith (he is originally from Australia but he has been residing in Indonesia for many years, www.invisibleman.net.au) and Prihatmoko Moki (prihatmokomoki.com).

In 2013, the three contemporary artists founded the studio and exhibition space Krack Studio (www.krackstudio.com) right in in the middle of the exciting art district of Yogyakarta. Krack Studio focuses on printmaking, specifically silkscreen printing, and it has been able to push the medium of printmaking to keep it very alive and kicking, for example by infusing it with (DIY) technologies.

This exhibition shows the versatility of the silkscreen printing technique. Moreover, for the group show at Dia.lo.gue Artspace, the three artists exhibit as individual artists – they have created collective and collaborative works in the past as well (and they will continue to do so in the future). And they present new works that explore the different layers of the fluid and everyday contradictions of modernity and modernization, specifically the contradictions concerning labor, desire and memory.

Modernity held the promise that we could find security in rationality. However, modernity is now primarily characterized by insecurity and instability. Radical doubt is turned against itself: how could radical doubt lead to stable knowledge with which we could colonize the future? The amount we do not – or: cannot – know is probably as large as what we do and can know. There is a wide gap between what we need to know to act and what we actually do know – and yet, we go on, stumbling into a future.

How to deal with contingency, disagreement, indeterminacy, inconsistency, incoherence, incongruity, ambivalence, heterogeneity, heterotopia, opacity, paradoxy, risk and uncertainty? The eradication of contradictions

has been a longtime dream of the modern, which only has lead to a return of the repressed.

Friedrich Nietzsche is the philosopher who warned us that ontological uncertainty could cause anxiety, and possibly violence against the ‘stranger’, against what is (perceived as) ‘alien’. According to Zygmunt Bauman, philosophy can teach us how to deal with uncertainty and contingency – art could do so as well: multiple voices and counter-voices can be woven into works of art creating counterpoints and encounters, subtly raising critical questions about our need for security (and risk aversion).

And yet, the idea of the modern – while phantasmagoric – holds sway: how we value work, how and what we desire, how and what we remember (and ignore to remember), and etcetera.

We all have the intrinsic desire to do things for the sake of doing and become able to excel at doing these things. We wish to hone and craft our skills for the sake of the sweet satisfaction of becoming able to do or make something as excellent as possible – printmaking is a good example, which requires repetition to acquire the needed ability to print well. However, under the conditions of global capitalism, outsourcing and flexibilization – the clock has become liquid – we are forced to instrumentalize ourselves and our skills for the sake of the invisible hand’s profits, or, worse, we become waste, euphemistically called downsizing – and we are quickly forgotten by history. And the joy of creating and relishing in taking one’s time evaporates, tarnishing pride and self-respect.

Rudi Lampung (1982) lives in Yogyakarta since 2000. He studied printmaking at ISI from 2002 to 2009, with a focus on silkscreen printing. He is a founding member of Krack Studio. His first solo exhibition was at Krack Studio in 2013 and in 2015 he had his second solo exhibition at Lir Space, Yogyakarta. He has joined group exhibitions and projects in Indonesia, Australia and Italy. His recent

works revisit his birthplace Lampung and how global economic forces, transmigration (which started in colonial times) and political decisions from far-flung Jakarta and beyond impact nature, society and everyday living in his hometown.

Tedious repetition is essential to become skilled at something, however, if repetition is turned into numbing routine all joy is sucked out of work, as Rudi has been observing every day. He sees people working merely to make ends meet – barely, as many are just scraping by. And work becomes then at best a means to fulfill only the most basic needs – desires have to wait, perhaps indefinitely (postponed to an utopian/dystopian after-life?). In his latest works, Rudi deals with the issue of labor in a colorful sarcastic ways; and note the contradiction at work here: each artwork has been laboriously printed to deal with the excesses of labor.

Periodically, both technophobes and technophilias abundantly claim that labor will become redundant some time in the near future: soon we all can idle our days away. For sure, new technologies have changed the nature of labor (and it is perhaps not prudent to romanticize the good old days of feudalistic agriculture), however, technology also plays symbolic roles in our (collective) imagination. For example, in 1976 Indonesia’s sole TV station TVRI launched a satellite – upgraded in 1983 by a new satellite – that played an important role in the New Order’s propaganda and not only because it practically increased its reach throughout the archipelago, but also because of the symbolic value of launching a satellite into orbit as a sign of development and progress.

Malcolm Smith (Sydney, Australia, 1969) is an art manager, curator, writer, researcher and visual artist, and he is now based in Yogyakarta, Indonesia. He is one of the founders of Krack Studio. He has worked in contemporary art spaces around Australia and he has undertaken residencies and presented workshops and projects across Australia and Southeast Asia. He has had

solo exhibitions in Bandung, Yogyakarta and Sydney. He participated in group exhibitions and projects in Indonesia, Australia and Italy. He is currently taking his masters in cultural studies at Sanata Dharma University, Yogyakarta. His research and artistic practice focus on the roles of image production in our modern times, how images visualize desires – including the repressed and the uncanny – and aspirations.

Malcolm’s latest works, part of the exhibition at Dia.lo.gue Artspace, are part of a larger body of work focusing on technology, such as telephones, air conditioners, computers, etc., and this time his focus turns on transformers. Transformers are located deep in the underbelly of basements of our shopping malls and office towers. We lay people are not qualified to enter – only our imagination will do the job to trespass into the inner-sanctum: just guesswork might infiltrate and approximate an understanding of what and who is transformed how. Malcolm’s oeuvre pays tribute to all the hard work we dedicate to make the ideal of the modern come true without it ever becoming so – indeed, unheimlich: we will never be at home in nor reach our ideal.

Technology obviously also plays an important role in the production and distribution of knowledge, the invention of the printing press being a prime example. Even today, the so-called digital era, paper knowledge still rules (only since recently, archives, such as IVAA, have taken up the arduous task of digitalization). However, again, knowledge production and distribution, including our art history, also plays a symbolic role in shaping ideas of the nation as an imagined (not imaginary!) community, as Benedict Anderson calls it in his book of the same title (which, in turn, is problematized in Michel Foucault’s early work on the archeology of knowledge/power).

Prihatmoko Moki (1982) studied printmaking at ISI, Yogyakarta, from 2002 to 2009, with a focus on silkscreen printing. He is a (dormant) member of Ace House Collective and a

founding member of Krack Studio. He has had several solo exhibitions in Indonesia and he conducted a residency at Megalo Print Studio in Canberra, Australia, 2014, which resulted in the solo exhibition Forget Me Not at Krack Studio, 2015. He curates the ongoing project LELAGU, which combines music and drawing, both live. He is also a member of PUNKASILA, which was part of the 2015 Yogyakarta Biennale. He has been part of group exhibitions and projects in Indonesia, Australia, Italy and Cuba. His work deals with identity, post-colonialism, popular culture, and the relationship between low art and the privatization of so-called high art.

Archives, libraries and museums become zombie entities of our memory when they merely function as graveyards of those things we once considered of value: numbered and catalogued accumulating dust and fungus. Collecting is a human endeavor; hence, things fall inevitably through the cracks. Collecting – and forgetting – also has a symbolic function (look at the recent opening of the National Gallery in Singapore). For different reasons, both Sukarno and Suharto understood this: Sukarno avidly collected art and Suharto made this collection disappear from the public eye. Moki’s works in this exhibition takes on one particular work from the presidential palace collection, a work that has gone missing – discarded, displaced, stolen, destroyed? – a painting by R. Bonnet (the Netherlands). And yet, even what has gone missing can have symbolic value: that what has gone missing can always slip into a backdoor of the stories we tell ourselves, the mystifying stories we are being told.

And we continue to walk on pins and needles, in anxious anticipation of what might or might not come along our meandering path, a path obstructed by hieroglyph-like signs we constructed in a not so distant past…

EDUCATION 2014-current MA Cultural Studies, Sanata Dharma University, Yogyakarta

1992-1997 BA Communications, University of Technology, Sydney ARTIST COLLECTIVE Krack Studio www.krackstudio.com PROFESSIONAL EMPLOYMENT 2007-2010 Australian Centre for Photography, Program Manager 2007 d/Lux/MediaArts, Program Manager

2006-2007 Object: Australian Centre for Craft and Design, Exhibition Manager

2002 –2005 24HR Art, NT Centre for Contemporary Art, Program Manager SOLO EXHIBITIONS 2014 Modern Times, Newsagency Gallery, Sydney

2013 Greetings from Silverside, Newsagency Gallery, Sydney

2012 Ships Passing in the Night, Lir Space, Yogyakarta

2011 The Calling, S.14, Bandung

2010 Psychic Photobooth, Peats Ridge Festival, and Gaffa Gallery.

1969, Sydney, AustraliaLives and works in Yogyakarta, Indonesiawww.invisibleman.net.au

2009 Psychic Photobooth, Klown Kult, Red Rattler GROUP EXHIBITIONS (SELECTION) 2015 Triennale Seni Grafis Indonesia, Bentara Budaya, Jakarta, Yogyakarta, Bali, Solo Artjog: Infinity in Flux, Taman Budaya, Yogyakarta

2013 Signature Hair, Part of the Disana Project, Cemeti Art House

2012 Semi Precious, Newsagency Gallery CURATORIAL PROJECTS (SELECTION) 2015 The Krackatorium (with Krack Studio), Krack Studio, Yogyakarta

2014 Tanah/Impian (with Krack studio), Krack Studio, Yogyakarta; Flux Kit, Turin Italy; Footscray Community Arts Centre, Melbourne, Australia

2013 Krack 3D! (with Krack Studio), Krack Studio, Yogyakarta Krack! Pameran Perdana (with Prihatmoko Moki), Krack Studio, Yogyakarta

2011 Certificate no. 000358/ (The ongoing impact of nuclear accidents in Russia), Sangkring Artspace, Yogyakarta; Soemardja Gallery, Bandung

2010 Lake, Lake Macquarie City Art Gallery Dream Home, Australian Centre for Photography

2009 The Lake, Australian Centre for Photography Nollywood: Pieter Hugo, Australian Centre for Photography Inheritance, Australian Centre for Photography Batteries Not Included (Co-curated by Joseph Allen), Australian Centre for Photography

MAlCOlM SMITH

EDUCATION 2002-2009 Major In Printmaking (BFA), Faculty of Visual Arts, Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia ARTIST COLLECTIVE Krack Studio www.krackstudio.com ARTIST-IN-RESIDENCY 2015 Megalo Print Studio, Canberra, Australia SOLO EXHIBITIONS 2015 Forget Me Not, Krack Studio, Yogyakarta

2012 Mukamalas silkscreen, LIR space, Yogyakarta

2011 Art Project KW2, Kedai Kebun Forum, Yogyakarta

2010 Melancholic Ego In The Colorful Song Of Agony, Srisasanti, Jakarta

2008 Mukamalas Hobby Studio, IVAA, Yogyakarta

2007 Ufo In My Room, Via Via Café, Yogyakarta GROUP EXHIBITIONS 2016 Exquisite corps, with Krack Studio, FCAC, Footscray, Melbourne, Australia

2015 Rough machine soft power, with PUNKASILA & Slave Pianos, Biennale Jogja XIII, Yogyakarta, Indonesia

1982, Yogyakarta, IndonesiaLives and works in Yogyakartawww.prihatmokomoki.com

2008 Avatar: The New You, Australian Centre for Photography

2007 Portal: The Space between the Real and the Other Real, Object: Australian Centre for Craft and Design WORKSHOPS AND PRESENTATIONS (SELECTION) Obat Kuat: Modern Masculinities in Indonesian advertising, 1910-2015, Inter Asia Cultural Studies Conference, Airlangga University, Surabaya, August 2015 New Strategies of Artist Initiative/Community Spaces, IVAA-ArtJOG Forum, Langgeng Art Foundation, Yogyakarta, 8 June 2014 The Paper Trail (Presented by ANU School of Art and Krack Studio), Indonesian Visual Art Archive, Yogyakarta, September 2013 Applying for International Artist Residencies (Intensive 3 day workshops), Indonesian Visual Art Archive (IVAA), Yogyakarta, Indonesia, 14-16 March 2012, Zerostation, Siagon, Vietnam, 7-9 April 2012 Asialink Arts Management Residency, Indonesia, Cemeti Foundation (now IVAA), Yogyakarta, June – December 2005 WRITINGS (SELECTION) Solid Krack!, Inside Indonesia, October 2014

The Instrument Builders Project, Realtime, Online September, 2013

Realtime Traveler – Yogyakarta, Realtime Online, July 2012

Survive Garage, Catalogue essay, Newsagency Gallery, Sydney, July 2012

Driving in an Indonesian Traffic Jam, Art Monthly feature, October 2011

Lake, Catalogue essay, Lake Macquarie City Art Gallery, September 2010

PRIHATMOkO MOkI Rebel behel, project by daging tumbuh, Greenhouse, Yogyakarta Salon Krack Krack-an, Krack Studio, Yogyakarta The Krackatorium, Krack Studio, Yogyakarta FSTVLST, launch of FSTVLST album, PKKH, Yogyakarta

2014 Art Print Asia, News Agency Gallery, Sydney, Australia Neo iconoclast, Langgeng, Magelang Merayakan agar agar, DGTMB shop, Yogyakarta Tanah impian, Liberia Bodoni, Torino, Italy Tanah impian, FCAC, Footscray, Melbourne, Australia Tanah impian, Krack Studio, Yogyakarta Exquisite corpatallation, Ace House Collective, Yogyakarta

2013 launching ruang baru studio Grafis Minggiran, Grafis Minggiran, Yogyakarta Krack 3D, Krack Studio, Yogyakarta Pameran perdana, Krack Studio, Yogyakarta

2012 Jogja Agro Pop, Taman Budaya Yogyakarta, LAF, Yogyakarta Serangan Nyamuk, A Collaboration Drama Comical, Mulyakarya with local people, Desa Minggiran, Yogyakarta

2011 Mengintip Laut, Brest festival, Lembaga Indonesia Perancis, Yogyakarta

2009 ASYAFF (Asian Student and Young Artist Art Fair), with Art Seasons Gallery, Seoul (old) Train Station, Korea Decima Biennale Havana, comic exhibition, Cuba

2008 Havana Affair, One Gallery, Jakarta Happening Kota Komik!, Kedai Kebun Forum, Yogyakarta Rumor of Tatang S, IVAA Hobby Studio, Yogyakarta Hello Print, Edwin’s Gallery, Jakarta

Grafis Indonesia Sekarang, Tembi Contemporary, Yogyakarta Jawa Baru, Srisasanti, Yogyakarta

2007 Shadows of Prambanan, Jogja Gallery, Yogyakarta Punkasila, comic exhibition, Darren Knight Gallery, Sydney, Australia Punkasila, comic exhibition, Kedai Kebun Forum, Yogyakarta OTHER 2016 THE LEPIDOPTERS A SPACE OPERA, performed with PUNKASILA, Slave Pianos, Michael Kieran Harvey, Rachel Saraswati at Powerhouse, Brisbane, Australia

2015 PUNKASILA – ROUGH MACHINE SOFT POWER, with Fitri, Fajar, Yashinta, Rendra (dancer) & Geng Liyud (soccer fan club), exhibition, performance, parade at Biennale Jogja XIII, Yogyakarta, Indonesia

2014 THE LEPIDOPTERS A SPACE OPERA, performed with PUNKASILA, Slave Pianos, Michael Kieran Harvey, Rachel Saraswati at Darwin Festival, Darwin, Australia, at MOFO, Tazmania, Australia, and in 2013 at TBY, Yogyakarta, Indonesia

2011 PUNKASILA, exhibition and performance at Monash University, Melbourne, Australia

2009 PUNKASILA, Decima Biennale Havana, Cuba

2007 PUNKASILA, closing exhibition Asia Pasific Triennial, Gallery Of Modern Art, Australia PUNKASILA, exhibition and cd launch at Darren Knight Gallery, Sydney, Australia

EDUCATION 2002-2009 Major In Printmaking (BFA), Faculty of Visual Arts, Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia ARTIST COLLECTIVE Krack! Studio www.krackstudio.com SOLO EXHIBITIONS 2015 Living in a Bubble, Lir Space, Yogyakarta

2013 The Elephant never Forgets, Krack Studio, Yogyakarta GROUP EXHIBITIONS 2016 Custom Minky Show, Ghostbird+Swoon, Bali Exquisite corps, with Krack Studio, FCAC, Footscray, Melbourne, Australia

2015 Keep Fire On, Survive Garage, Yogyakarta Equisite Corp, Swoon Gallery, Bali Salon Krack Krack-an, Krack Studio, Yogyakarta The Krackatorium, Krack Studio, Yogyakarta

2014 Art Prints Asia, Newsagency Gallery Sydney Tanah impian, Liberia Bodoni, Torino, Italy Tanah impian, FCAC, Footscray, Melbourne, Australia Tanah impian, Krack Studio, Yogyakarta

2013 Krack 3D, Krack Studio, Yogyakarta Pameran perdana, Krack Studio, Yogyakarta Print Parade, Grafis Minggiran, Yogyakarta

2012 Tomorrow Never Knows, Aruna La Luna Café, Yogyakarta

1983, Lampung, IndonesiaLives and works in Yogyakartarudihermawan.weebly.com

DGTMB, Singapore Fundraising IVAA, Looking East, ART JOG 12, Yogyakarta

2011 Parallel Event Biennale XI with Ace House Collective, Yogyakarta Crop cycle, Canna Gallery, Jakarta The Art of Motorcycle, Taman Budaya Yogyakarta Kios kaos, with ACE HOUSE Collective at Kedai Kebun Forum, Yogyakarta

2010 Hi Graper, Yogya National Museum, Yogyakarta Wouw, Tujuh Bintang Art Space, Yogyakarta

2009 IVAA art archive, National Gallery, Jakarta Survey, Edwin gallery, Jakarta. Bohemian Karnival, National Gallery, Jakarta. OTHER FCACheartsJogja, The Second Edition 2015, Melbourne, Australia

FHJ14, FCAC heartsJOGJA Second Edition 2014 TOURING ARTIST, Melbourne, Australia

Collaborator in Tanah Impian/Dream Land, Krack Studio, Yogyakarta 2014

Collaboration exhibition Exquisite Corpstallation, organized by Footscray community Art Centre, Australia at Ace House Collective, Yogyakarta

RUdI HERMAWAN

PRIHATMOkO MOkI

Mencari lukisan soekarno #1 #2 #3 #4Silkscreen print on arches paper 300 gsm - 100% cotton - 2colors - 5 editions - 12.5X16cm - 2016

RUdI HERMAWAN

Jenis pekerjaan versi ktp #2Silkscreen print on arches paper 300gsm - 100% cotton - 3 colors - 79,5x56,5cm - 2016

RUdI HERMAWAN

The cost of lending a handSilkscreen print on arches paper 300gsm - 100% cotton - 4 colors - edisi 4 + 1 ap - 56x39 cm - 2016

MAlCOM SMITH

Transformer #2Silkscreen print on arches paper 300gsm - 100% cotton - 2 colors - 3 editions - 115x85 cm - 2015

RUdI HERMAWAN

Jenis pekerjaan versi ktp #3Silkscreen print on arches paper 300gsm - 100% cotton - 3 colors - 79,5x56,5cm - 2016

MAlCOM SMITH

Transformer #3Silkscreen print on arches paper 300gsm - 100% cotton - 2 colors - 4 editions - 115x85 cm - 2015

PRIHATMOkO MOkI

Soekarno kehilangan lukisan #7Silkscreen print on arches paper 300 gsm - 100% cotton - 3colors - 4editions - 44 x 44cm - 2016

RUdI HERMAWAN

Membayar waktukuSilkscreen print on arches paper 300gsm - 100% cotton - 4 colors - edisi 4 + 1 ap - 56x39 cm - 2016

MAlCOM SMITH

Transformer #1Silkscreen print on arches paper 300gsm - 100% cotton - 2 colors - 4 editions - 115x85 cm - 2015

MAlCOM SMITH

Transformer #5Silkscreen print on arches paper 300gsm - 100% cotton - 2 colors - 4 editions - 115x85 cm - 2016

PRIHATMOkO MOkI

Soekarno kehilangan lukisan #1Silkscreen print on arches paper 300gsm - 100% cotton - 3colors - 4editions - 76x52cm - 2016

RUdI HERMAWAN

Jenis pekerjaan versi ktp #1Silkscreen print on arches paper 300gsm - 100% cotton - 3 colors - 79,5x56,5cm - 2016

PRIHATMOkO MOkI

Soekarno kehilangan lukisan #6Silkscreen print on arches paper 300gsm - 100% cotton - 3colors - 4editions - 44 x 44cm - 2016

RUdI HERMAWAN

Sacrificing real satisfactionSilkscreen print on arches paper 300gsm - 100% cotton - 4 colors - edisi 4 + 1 ap - 56x39 cm - 2016 OUT

OF JOINT

MALCOLM SMITH

PRIHATMOKO MOKI

RUDI HERMAWAN

a krack studio exhibition