How do we remember 1965-66? Maybe we need the [geographical] distance (a transnational memorial) in Dadang Christanto, Heads from the North, 2004, bronze, National Gallery of Canberra. by Wulan Dirgantoro
(disalin dari Living1965setiaphari)
[Presentation] Wulan Dirgantoro (Melbourne University, Australia) – #1965SetiapHari: Transnational Spaces and Memory Activism of the 1965-66 mass killings
This presentation will discuss the projects of #1965SetiapHari/Living1965, a research-relay collective founded in 2015. The collective, whose members are visual artists, journalists, cultural activists, and academics, including the presenter, are based in Indonesia, Australia, and the United States. The diverse background and geopolitical location of the member shaped the collective’s direction, namely that the representation of Indonesia’s anti-communist killings consists of multiple sets of dynamically overlapping and interacting transnational social fields and agents. Using a transnational framework (De Cesari and Rigney 2014; Erll 2011), this presentation proposes that the collective’s projects provide an optics or gaze that examines the boundaries and borders that emerge at particular historical moments and explores their relationship to unbounded arenas and processes in discussing and representing the killings of 1965-66. The transnational optics used by the collective allows the memory 1965-66 to be visualized differently: not as a horizontal spread on a map but as a dynamic operating at multiple platforms that involve interlocking scales and involving conduits, intersections, circuits, and articulations.
bagian dari ALTERSEA 9 July 2021 – Revisiting the Memory of 1965 : Writing and Artworks of Indonesian Young Generations simak presentasi selengkapnya disini
Wawancara Wulan Dirgantoro
NEW INTERVIEW – COLLOQUIUM WITH WULAN
Mia’s second book, From Camp to Camp: Story of a Woman (2007), was written in the style of political memoirs. She spoke of her political interest and active involvement in a Left-leaning arts organisation known as LEKRA. Her involvement with the organisation was after she was divorced from Sudjojono and became a single mother of eight children. She was living in the art co-op that Sudjojono founded in 1946 and later abandoned after their divorce. Mia took over the co-op while trying to make ends meet for her own family. She was later arrested during Indonesia’s 1965-66 anti-communist pogrom because of her involvement with LEKRA. She spent thirteen years in various prison camps without a trial, and her children were looked after by various extended family members.
She described how she managed to continue making art in the camps, from portraits of the camp guards (unpaid commission by the guards), backdrops for performances by the camp inmates (to entertain visiting officials) to a small landscape painting. About this painting, she described how she removed the barbed wires on her landscape because she wanted to evoke a sense of freedom in her painting. You can see her remarkable resilience and strength during those times and how making art helped her retained her sense of self and dignity in such a dehumanizing place. Mia stated that none of her paintings and drawings survived, and only one photo documentation that she made before her imprisonment existed.
Arsip Visual Wulan Dirgantoro in Living1965setiaphari
Wit(h)nessing the Witness: Narratives and Visuality in Dadang Christanto’s Recent Works.
Essay by Wulan Dirgantoro for Dadang Christanto Missing Exhibition
Christanto, together with other Indonesian artists that have been working on the issues of 1965-66, place the stories and narratives as the primary driver in their works. They work to challenge the official, documented versions of these events by the state. Given that history tends to be written by victors, these artistic practices that drew from oral narratives seek to represent the ‘history from below’ by standing together with the witnesses of human rights violation.
Dadang Christanto – Missing by sarah rinaldi
Now Exhibiting: ‘MISSING’by Dadang Christanto at Wei-Ling Contemporary
by Alexa T – herdemag.com
After 1965 : Historical Violence and Strategies of Representation in Indonesia Visual Arts
Wulan Dirgantoro After 1965: Historical Violence and Strategies of Representation in Indonesian Visual Arts
pembicara kedua setelah Grace Leksana Sites, Narratives, Coexistence: Remembering the Anti-communist Violence in Indonesia Today
The presentation will reflect on the issues surrounding the representation of historical violence in the practices of artists such as Tintin Wulia (b. 1971), Yaya Sung (b. 1982), Dadang Christanto (b. 1957) and Rangga Purbaya (b. 1976). The term ‘After 1965’ is used to describe the impact of historical violence on aesthetic practices of Indonesian contemporary artists. Scholars have noted that Indonesian visual artists drawn their inspiration from historical, cultural and sociopolitical changes, both visually and conceptually. However, little attention has been paid about the aesthetic impact of these changes on the art works. Drawing from Astrid Erll’s notion of ‘transcultural memory’ (2011, 2019), the presentation will discuss how memory travels and its locatedness not only shaped and mediated memory but also produces dynamic tension that takes place in the interconnected processes of creation, transmission, and reception (Erll et al. 2019) through the artworks. The presentation will examine transcultural memory as it operates on the three levels of the narrated, narration, and reception process in the works of these Indonesian artists. The diasporic and transgenerational perspective of artists produce artworks that simultaneously functions epistemologically (as a means of comprehending) and therapeutically (as a means of coping) of the historical violence.
bibliografi dan abstrak
Dirgantoro, Wulan. (2020). From silence to speech: witnessing and trauma of the anti-communist mass killings in Indonesian contemporary art. World Art. 10. 301-322. 10.1080/21500894.2020.1812113.
Memory on stage: Affect, gender and the performative in 1965–66 survivor testimonies W Dirgantoro, B Hatley – Gender, Violence and Power in Indonesia, 2020
After 1965: Historical Violence and the ‘Limits of Representation’in Indonesian Visual Arts
Dirgantoro, W. “Aesthetics of Silence: Exploring Trauma in Indonesian Art After 1965”. Ambitious Alignments: New Histories of Southeast Asian Art, 1945-1990, edited by Whiteman, Stephen K, and Abdullah, Sarena, et al., 1 ed., Power Publications Incorporated (FL), 2018, pp. 199-224.
Seri Kompilasi Kajian Ilmiah Genosida 1965-1966
Asvi Warman Adam,Baskara T. Wardaya, Ariel Heryanto,Robert Cribb, Annie Pohlman, John Roosa, Saksia Wieringa, Katharine McGregor, Peter Dale Scott, Benedict Anderson, Vannessa Hearman, Jess Melvin, Noam Chomsky, Bradley Simpson, Geoffrey Robinson, Greg Poulgrain, Alex de Jong, Andre Vltchek, Taomo Zhou , Soe Tjen Marching, Peter Kasenda, Aiko Kurasawa,Vijay Prashad,, Akihisa Matsuno , Ruth Indiah Rahayu, Nathaniel Mehr, Adam Hughes Henry , Henri Chambert-Loir, Wim F.Wertheim, Steven Farram, Sri Lestari Wahyuningroem , Joss Wibisono, Leslie Dwyer – Degung Santikarma, Vincent Bevins,Wijaya Herlambang, Budiawan, Ong Hok Ham, Rex Mortimer, Olle Törnquist, Max Lane, Hilmar Farid , Michael G. Vann , Gerry van Klinken, Grace Leksana, Ken Setiawan, Ayu Ratih, Yosef Djakababa, Aan Anshori, Muhammad Al-Fayyadl, Roy Murtadho, Deirdre Griswold , David T. Hill, Yoseph Yapi Taum, Aboeprijadi Santoso, Adrian Vickers, John Gittings, Jemma Purdey, Henk Schulte Nordholt, Martijn Eickhoff, Made Surpriatma, Dahlia Gratia Setiyawan, Uğur Ümit Üngör, Manunggal Kusuma Wardaya, Gloria Truly Estrelita, Wulan Dirgantoro, Kar Yen Leong, Wulan Dirgantoro, Muhidin M. Dahlan, Dhianita Kusuma Pertiwi, Elsa Clavé, Justin L. Wejak, Douglas Kammen, Martin Suryajaya, Chris Wibisana, Satriono Priyo Utomo
simak 1600 ‘entry’ lainnya pada link berikut
Daftar Isi Perpustakaan Genosida 1965-1966
Road to Justice : State Crimes after Oct 1st 1965 (Jakartanicus)
Definisi yang diusulkan D. Nersessian (2010) untuk amandemen/ optional protocol Konvensi Anti-Genosida (1948) dan Statuta Roma (2000) mengenai Pengadilan Kejahatan Internasional. (disalin dari Harry Wibowo)