#: locale=en
## Action
### URL
WebFrame_C8485170_D957_652E_41D4_53C46299B033.url = https://sketchfab.com/models/3d707a59edf94a3e8b8ecdee2ab34b4e/embed
WebFrame_DEB47502_C75A_4E76_41E7_FD00BA67EB0D.url = https://www.google.com/maps/embed?pb=!1m16!1m12!1m3!1d3098.3037173135695!2d107.46771586400469!3d-7.099314971573467!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!2m1!1sterminal%20ciwidey!5e1!3m2!1sen!2sid!4v1648314384420!5m2!1sen!2sid
LinkBehaviour_CB15CDE5_DA99_5127_41BC_6B70DD75A101.source = https://www.instagram.com/berlangkah
PopupWebFrameBehaviour_FB17D248_DBB9_536D_41E8_3922519BE4E1.url = //www.youtube.com/embed/SosEhedeGuY
WebFrame_DEB3BD43_C74A_3EF6_41BA_FAA3D0974702.url = //www.youtube.com/embed/ThT6obOrTms
PopupWebFrameBehaviour_D0383482_C74E_CE76_4191_E08FFE9F2BF9.url = //www.youtube.com/embed/clwxxW0xanc
PopupWebFrameBehaviour_FB774B31_DBB6_D13F_41B3_E93EBE76B05A.url = //www.youtube.com/embed/h65FigIA42M
PopupWebFrameBehaviour_D1A75068_C793_6ACF_41C0_BB82B32FF289.url = //www.youtube.com/embed/hbg9FWu5fOo
WebFrame_DE1F432A_C75E_4AB6_41E5_B17620583D98.url = //www.youtube.com/embed/rT9Ex1ggQbg
WebFrame_D5AC35BC_C6DE_4992_41C4_0C9E7C8589C6.url = https://zineberlangkah.rimpangdigital.com/
PopupWebFrameBehaviour_D04AFCF9_C74E_5F92_41E0_5404CA7C6659.url = https://zineterraforming.rimpangdigital.com/
## Media
### Audio
audiores_CD13878D_D955_6DF6_419D_01002A472D72.mp3Url = media/audio_FEC7290C_D953_62F6_41EB_1A636C4B241C_en.mp3
audiores_CD13878D_D955_6DF6_419D_01002A472D72.oggUrl = media/audio_FEC7290C_D953_62F6_41EB_1A636C4B241C_en.ogg
### Floorplan
### Image
imlevel_FAF546EC_DC2E_FF1B_41E4_3BAB92A8BABE.url = media/map_A26FB1AA_AFB4_C2DD_41B3_9B2F12080D5A_en_0.jpg
imlevel_FAF536ED_DC2E_FF15_41EA_308C2A0E3B11.url = media/map_A26FB1AA_AFB4_C2DD_41B3_9B2F12080D5A_en_1.jpg
imlevel_FAF526ED_DC2E_FF15_41EB_8DB6C362DC37.url = media/map_A26FB1AA_AFB4_C2DD_41B3_9B2F12080D5A_en_2.jpg
### Title
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_0.label = 1- Thumbnile You Tube
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_0.label = 1- Thumbnile You Tube
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_0.label = 1- Thumbnile You Tube
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_0.label = 1-Jadi thumbnile You Tube
video_CB57A8EB_D973_E332_41B8_A9202BB20DE7.label = IIYH_VIDEO
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_6.label = IMG-20210629-WA0003
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_7.label = IMG-20220210-WA0000
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_8.label = IMG-20220210-WA0001
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_9.label = IMG-20220210-WA0004
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_1.label = IMG_20210629_133110
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_2.label = IMG_20220312_141352
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_3.label = IMG_20220312_141921
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_4.label = IMG_20220312_141945
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_5.label = IMG_20220312_142121
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_1.label = IMG_20220313_123800
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_2.label = IMG_20220313_123805
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_3.label = IMG_20220314_162958
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_4.label = IMG_20220315_103337
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_5.label = IMG_20220315_154016
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_6.label = IMG_20220316_102837
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_7.label = IMG_20220316_105817
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_8.label = IMG_20220316_112519
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF_9.label = IMG_20220316_112857
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_1.label = IMG_20220321_121140
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_2.label = IMG_20220321_122113
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_1.label = IMG_20220321_122413
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_2.label = IMG_20220322_091946
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_3.label = IMG_20220322_093555
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_4.label = IMG_20220322_103241
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_5.label = IMG_20220322_111101
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_6.label = IMG_20220322_111210
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_7.label = IMG_20220322_111349
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_8.label = IMG_20220322_111643
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_9.label = IMG_20220322_112241
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_10.label = IMG_20220322_112308
album_D26E0B05_C736_5A72_41B6_6C620EB642AC_11.label = IMG_20220322_112320
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_3.label = IMG_20220322_132328
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_4.label = IMG_20220322_132505
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_5.label = IMG_20220322_132508
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_6.label = IMG_20220322_143348
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_7.label = IMG_20220322_143357
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_8.label = IMG_20220322_143513
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_9.label = IMG_20220322_143538
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_10.label = IMG_20220322_143549
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_11.label = IMG_20220322_143839
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_12.label = IMG_20220322_143856
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_13.label = IMG_20220322_143906
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_14.label = IMG_20220322_143918
album_D33117E6_C736_C9BF_41C1_3763E8D108F2_15.label = IMG_20220322_144100
video_CB4007B9_D95F_ED1E_41E7_FF237DDFA73C.label = Intheredzone_fsdp
video_C90C75F1_DC26_1D0A_41CF_95B2B7464B8A.label = Jatigede_1
video_CB3E92D7_DC26_F736_41E6_4246A60A476B.label = Landing Page Video
video_D6958D9E_C6F6_598E_41DB_C15D1E4A2631.label = NASA[KOM] - Teaser
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_10.label = P1010507
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_11.label = P1010510
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_12.label = P1010519
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_13.label = P1010533
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D_14.label = P1010555
album_D33117E6_C736_C9BF_41C1_3763E8D108F2.label = Riwayat Jati Sidoarjo
album_D26E0B05_C736_5A72_41B6_6C620EB642AC.label = Serat Jati Benowo Surabaya
album_D2F1C8DA_C73A_C796_41E5_6306A49C90EF.label = Sucining Pikir Batu
album_D20FDF15_C73A_FA92_41CE_FFCF1D3B6F5D.label = Tirto Kamandanu Jagir Surabaya
video_C9644F35_DC3A_6D0A_41CD_40263E2B68A2.label = buaya
panorama_A14071CC_AACE_E504_41DC_036854D928AE.label = fiona
video_C92CE4F3_DC26_730D_41DD_4B225C1B91E1.label = keuyeup
map_A26FB1AA_AFB4_C2DD_41B3_9B2F12080D5A.label = krem
### Video
videolevel_FAF4F6D5_DC2E_FF35_41DA_017945D56EC4.url = media/video_C90C75F1_DC26_1D0A_41CF_95B2B7464B8A_en.mp4
videolevel_FAF4F6D5_DC2E_FF35_41DA_017945D56EC4.posterURL = media/video_C90C75F1_DC26_1D0A_41CF_95B2B7464B8A_poster_en.jpg
videolevel_FAEAE738_DC2E_FD7A_41E2_B5B35E504C95.url = media/video_C92CE4F3_DC26_730D_41DD_4B225C1B91E1_en.mp4
videolevel_FAEAE738_DC2E_FD7A_41E2_B5B35E504C95.posterURL = media/video_C92CE4F3_DC26_730D_41DD_4B225C1B91E1_poster_en.jpg
videolevel_FAF7C6A1_DC2E_FF0D_41D0_0781105E96A3.url = media/video_C9644F35_DC3A_6D0A_41CD_40263E2B68A2_en.mp4
videolevel_FAF7C6A1_DC2E_FF0D_41D0_0781105E96A3.posterURL = media/video_C9644F35_DC3A_6D0A_41CD_40263E2B68A2_poster_en.jpg
videolevel_FAF7466A_DC2E_FF1E_41EA_9C527344782E.url = media/video_CB3E92D7_DC26_F736_41E6_4246A60A476B_en.mp4
videolevel_FAF7466A_DC2E_FF1E_41EA_9C527344782E.posterURL = media/video_CB3E92D7_DC26_F736_41E6_4246A60A476B_poster_en.jpg
videolevel_FAF69637_DC2E_FF76_41E9_310663929984.url = media/video_CB4007B9_D95F_ED1E_41E7_FF237DDFA73C_en.mp4
videolevel_FAF69637_DC2E_FF76_41E9_310663929984.posterURL = media/video_CB4007B9_D95F_ED1E_41E7_FF237DDFA73C_poster_en.jpg
videolevel_FAF61604_DC2E_FF0A_41DC_F55333278487.url = media/video_CB57A8EB_D973_E332_41B8_A9202BB20DE7_en.mp4
videolevel_FAF61604_DC2E_FF0A_41DC_F55333278487.posterURL = media/video_CB57A8EB_D973_E332_41B8_A9202BB20DE7_poster_en.jpg
videolevel_FA02CF35_DC2E_ED0A_417B_88404DF44676.url = media/video_D6958D9E_C6F6_598E_41DB_C15D1E4A2631_en.mp4
videolevel_FA02CF35_DC2E_ED0A_417B_88404DF44676.posterURL = media/video_D6958D9E_C6F6_598E_41DB_C15D1E4A2631_poster_en.jpg
## Skin
### Button
Button_BA77AE2A_AAF2_5F0F_41D6_2A297005115A.label = About
Button_D1BDB994_C797_3A46_41E2_AF6015FB46B1.label = Artworks
Button_A719858C_AAF2_6D04_41CD_DAB9EB49FD49.label = Artworks
Button_FDD590E7_DC7E_3316_41DC_3B10C28F4DDB.label = Next
Button_C04B62A2_DC5A_170F_41A1_B7D57B5B9E26.label = Next
Button_FD543A60_DC7E_F70B_41D2_B824160E84B4.label = Next
Button_FCFECD3E_DC7E_2D76_41DD_B913715414FB.label = Next
Button_C3904BE8_DC7E_151A_41D9_266A02B8BE86.label = Next
Button_FC333F54_DC7E_6D0A_41E6_C506F8EFEB38.label = Next
Button_FC656C9D_DC7E_733A_41D8_043C1A1BC9D0.label = Next
Button_FC4374DE_DC7E_1336_41C5_0FA9B39DEBFC.label = Next
Button_FDDF705B_DC7F_F33E_41DF_72478E8D4291.label = Next
Button_C28F171C_DC7A_1D3B_41E0_A79F01DE65FD.label = Next
Button_C0680F75_DC6A_6D0A_41E5_275A05B8F34B.label = PLAY AUDIO
Button_FD1D837E_DC7A_15F6_41DA_5B07696413C1.label = Previous
Button_FCB87A94_DC7A_170B_41EB_342E63FE6C50.label = Previous
Button_FD3BFD06_DC7A_6D16_41D0_7F13B681B89B.label = Previous
Button_FCE2BAD4_DC7A_170A_41E0_6529564FDA31.label = Previous
Button_FCCB5EB9_DC7E_2F7A_41EA_C7735408A553.label = Previous
Button_FD4085CD_DC7A_3D1A_41E6_882AD1A57AE6.label = Previous
Button_FC620B80_DC7A_150A_41E8_045AB79AC87E.label = Previous
Button_FCA0B584_DC7A_1D0A_41EA_A1F770BDFEC4.label = Previous
Button_FD42853A_DC7A_3D7E_41E6_BB761CA3BDD8.label = Previous
Button_A719B58C_AAF2_6D04_41DF_6FD6829E2CAC.label = Programs
### Image
Image_A437041F_B06D_41F3_41C4_256FB5806CAD.url = skin/Image_A437041F_B06D_41F3_41C4_256FB5806CAD_en.png
Image_A64CC4C9_B055_425E_41E3_A99FE2CC1B39.url = skin/Image_A64CC4C9_B055_425E_41E3_A99FE2CC1B39_en.png
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Image_D041814E_C73A_468E_41C7_4F16CE50D8B2.url = skin/Image_D041814E_C73A_468E_41C7_4F16CE50D8B2_en.jpg
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Tirto kamandanu (Immortal Water) script takes from the Serat Kidung Dharma Wedha in Primbon Atassadhur Adammakna.
Having a reminder message that nothing is eternal in the world all starts from nothing and will end in the absence of anyone who wants to be quiet or think about knowing the truth. Like the process of traveling water from upstream to downstream, from within the earth to the sky, tirto kamandanu gives the message all is an increasingly widespread pattern.
The inscriptions we made we placed in Stren Kali, Jagir, Surabaya, Indonesia which are considered slums by the government. This village was given a slum predicate by the government basically just to support the Stren Kali camp eviction plan. Claims and predicates made by the government in this camp began in 2009 without a clear basis and research.
Our Riwayat Jati script takes from Wirit Maklumat Jati, the panunggal jati chapter in Primbon Atassadhur Adammakna.
Having a message is no absolute truth in the world, the truth we use in life is only the greatest truth of its power in the sense of metaphor. Therefore, for human self-awareness, it should be able to master itself first, not the power of its lust.
The inscription we made we place behind the portable building factory PT. Sinar Indogreen Kencana, Krian, Sidoarjo, Indonesia on March 22, 2022.
Serat Jati (Inti Kebenaran) simbol tanah | Serat Jati (the core of truth) soil symbol
Serat Jati Scripts are taken from Darmawedha cacah kaping Limo in Primbon Atassadhur Adammakna. This fiber has any message that is in nature already at the point of balance. This balance must be known, studied, and applied because if humans cannot feel symptoms, humans will only destroy them. Every civilization leaves a marker as a reminder of the next civilization.
Prasasti yang kami buat ini kita tempatkan di daerah tempat pembuangan sampah akhir (TPA Benowo) Benowo, Surabaya, Indonesia pada tanggal 22 Maret 2022.
The inscription we made we place it in the final landfill (TPA Benowo) Benowo, Surabaya, Indonesia on March 22, 2022.
Sucining Pikir (Bersihnya pemikiran) simbol udara | Sucining Pikir (clean thinking) air simbol
Sucining Pikir Scripts we took from Kidung Japa Weda cacah kaping loro in Primbon Atassadhur Adammakna. This fiber has a message, all kinds of early diseases originally came from the mind, and the lighter is the taste we get from the environment. To maintain the health of ourselves we must also maintain environmental health. Not only does it protect nature, this fiber more deeply conveys the message of no need for dreams of this nature, because nature has its own pattern to protect its health.
We place this inscription on Mount Wukir, Batu, Indonesia on March 14-16, 2022. Mount Wukir is one of the green lands in the Batu City area which has not yet been touched by the construction of tourist attractions. Since 2021 Batu City has become a tourism city supported by beautiful and cold mountain nature, the city accelerates the construction of various tourism sites including productive green land (bars and gardens) and protected areas.
Blanco Benz Atelier
Prasasti Yupa is a work that is inspired from an artefact from the Kutai Kingdom, which has the same name. The artefact was made in between the year 350-400, making it one of the oldest artefact in Indonesia’s history. It shapes like a monolith with stories about the origin of the kingdom, religion and the king’s advices carved on it.
Our rendition of Prasasti Yupa takes place in an entirely different time period, it is what we would like to call, the historical futurist period. Unlike the ancient artefact, this artefact symbolises decentralised network and is defined and nurtured by its own socio-geographical context. In this period, there is no king to have his manifestos carved on a stone, rather the people itself decide on how a country or a city should be run.
Historical futurism also honors uncreativity. It believes that since the world is already full of visual languages, knowledge resources, detritus and cultural artefacts, the act of crafting a phenomena of the future has to involve the reorganisation of things from the present and the past. It believes in recycling, refining and reconfiguring objects and pre-existing ideas as much as inventing new ones.
Cut and Rescue
Lorem Ipsum is simply dummy text of the printing and typesetting industry.
Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since.
Forum Sudut Pandang
In the Red Zone: Giant Eel’s Trace, and Arch
Light at Dusk.
A presentation of observations (by recording) for several
months in Palu Bay in 2020-2021. The project is planned to be
a documentary film, which is currently in the post-production
Stage.
Overall, this project is aimed at recording community activities
and spatial events in the Red Zone, a restricted area in Palu
Bay that is prone to tsunamis. Where the space also works,
especially for economic and recreational activities. The peak is
at dusk until night, marked by curved lights that start to light
up, resembling the light shape of the iconic city bridge that
had collapsed due to an earthquake.
It is said (in folklore), the area was also formed because of
the act of a giant eel that fights and leaves its trace.
IIYH COLLECTIVE FOR LAHAN BECEK
Title: Let It Sink In (Long Drift of The Polymer 2)
It’s In Your Hands Collective (Jakarta) with animator Yolando Siahaya
Digital plastic collage, single channel animation video 3 minutes, soundscape 3 minutes. Instagram filter with digital plastic collage.
The work is inspired from the IIYH’s previous work on Ring Project-Jakarta Biennale, titled Long Drift of the Polymer which raises the issue of the climate crisis related to the sinking islands in Indonesia-World and how plastic evolved, invading human life-space.
The title of this work is Let It Sink In. The phrase is an idiom that means “to allow something to penetrate into your mind and become understood”. The word Sink In means to become completely known, felt, or understood. It is in line with the message conveyed by the work regarding the impact of the climate crisis. The public will be given experiences about the future of the sinking Jakarta, capital city of Indonesia. The experiences that will be presented not only meant to be read by the public but also raised awareness about the threat of the climate crisis and how terrifying the future will be.
IIYH created a short-loop animation video that predicts the condition of the sinking capital city of Indonesia, choosing an iconic topology of the city's bus stop to represent the submerged Jakarta. Public engagement will be generated by creating Instagram filter as medium of interaction, with the link below:
Performance.rar
THE MYTH OF TOMORROW
(3D websites, documentation videos)
Jatigede Reservoir, located in Sumedang Regency, Indonesia, is the second-largest artificial reservoir in Indonesia after Jatiluhur Reservoir. It is capable of accommodating 6.7 million m3 of water which is used for irrigation, power generation, and raw water supply.
The construction of the Jatigede Reservoir was realized in 2015, during which residents opposed its construction. the cost of submerging 28 villages with 11,000 families, dozens of cultural sites, displacing endemic animals, and drowning tens of thousands of agricultural land belonging to residents left Jatigede's residents without occupation and tools to prosper as a community.
Not to mention the severity of the ecological effects caused by the dam construction. according to DPKLTS ecological research, it is recommended that the Jatigede dam construction plan be canceled, considering the tectonic disturbances (fault shifts, earthquakes, push-up swells / popups) that will occur, so that may result in the rupture of the embankment due to the earthquake. and continuous shifting of faults and silting of the reservoir bottom due to the affixing process due to push-up swells (popups).
The Jatigede Dam and its construction are linked with local myths surrounding the area. According to the local lore of Uga, ecological damage and the misery of residents in the Jatigede area have been predicted and represented by the myth of the keuyeup bodas (white crab) kingdom. where in the past the inhabitants of Jatigede, the king of keuyeup bodas, fought with the white crocodile king, who wanted to build a dam in Jatigede. however, the development was opposed because according to keuyeup bodas the development would damage the ecology and cause misery for the people.
In the myth, it is said that the white crocodile who lost a fight with the king of keuyeup bodas, promised that in the future the descendants of the white crocodile would build a reservoir dam in Jatigede. Raja Keuyeup Bodas also promised that if in the future the dam construction happened he would come back to life and destroy the dam. This local myth is used by Jatigede residents to reject the construction of the reservoir.
In this work, we work with a local shaman to visit the dwindling Jatigede area. To see where the keuyeup bodas kingdom is and what the shape of the kingdom is. the results of the shaman's vision we formed a 3D website. in this project we try to perpetuate how local myths are used by traditional communities to protect nature.
Roompok
The discussion about the railroad became the focus of our interest since it was an infrastructure that was built during colonial period and became the leading transportation to move crops around the South Bandung area. The focus this time will be to take the Bandung-Ciwidey railway line, which is an inactive track and is the second asset of Bandung City. The Bandung-Ciwidey railway line itself runs from the city of Bandung starting from Cikudapateuh station. This rail line itself began construction in 1924 and was closed in 1982. Because it lost in the competition of transportation modes with rural public transportation along with the times.
In 2019 there was a discourse to revive the Bandung-Ciwidey railway which had been inactive for decades. The reactivation of the railroad itself has the possibility of overlapping routes originating from the colonial and postcolonial periods which is interesting in the discourse of regional and territorial development of routes in southern Bandung itself. This activation certainly finds many problems at the same time can be an interesting phenomenon to discuss because during its development during the inactive railroad tracks and separate stations have undergone changes in soil structure and function in several areas that become the route. Among them, such as Ciwidey Station which is located in Cimuncang Village, namely the transfer of the function of the station into a parking lot for people who have four-wheeled vehicles, and the rail itself is converted into residential residents, this settlement itself changes the structure of the land that was originally from the railroad tracks. As the foundation of houses and bridges in the village, some rail artifacts can still be found on the houses of residents in the village.
Based on these problems, we took the initiative to create a counter-cartography, to address this overlapping route. Counter-cartography itself is taken as a form of spatial production that creates a new mapping route, and is a method for making a cartography of an area by combining elements that exist in the reality of the field with the collective imagination of the community in mapping their territory. The power relations that occur in the effort to build a map itself is literally a graphic representation of spatial mapping which politically can be likened to a claim to the power relations of developing a territory.
In addition, there is also an animated video showing the train passing through the village as a collective memory of the community regarding the relationship between houses and trains. These two things are closely related as metaphors for describing the history of the place, due to the land use change and changes in soil and social structure that have occurred.
SOKONG!
Periphery of the Wind is an observational project documenting human intervention towards nature in Daendels Street, Kulon Progo, Special Region of Yogyakarta, south coast area. Since August 2021, this video-format project created by SOKONG! collaborated with Reza Kutjh, Riskya Duavania, and Alwan Brilian.
Kulon Progo, Daendels's south coast area in particular, brings out questions related to ecological issues throughout the land usage change: from sand mining, shrimp farms, fishery port, breakwaters, to the airport.
Two videos are presented as a sequence of travelogs. Both discuss the agricultural land usage change not only by its tangible form--the materiality, but also to trace the human intervention towards nature itself by arising questions and archiving.
The first video focused on Riskya Duavania and Alwab Brilian's explorations. In the journey, they have small chats and question everything to respond and reflect their findings on site. Questions regarding sand mining, stalled construction, and infrastructure projects in YIA (Yogyakarta International Airport) arose as a means of determining how this material issue intervened and existed in the area.
The second video focused on Reza Kutjh, exposing the structure and artificial atmospheric environment. He created a spatial memory index in a disaster-prone area. His video`s initiates an immersive experience that allows us to delve further into the current conditions and also the transformations of an area.
Studio Malya
A Glimpse of Berlangkah
Zine berisi empat tulisan dan galeri foto, satu tautan link yang berisi video pendek (1’22”)
Walking activities are always considered naturally and taken for granted. For this reason, awareness about "walking" itself is sometimes forgotten. As outlined in “A Glimpse of Berlangkah”, Studio Malya tries to reflect on the relationship between walking and the surrounding environment. Berlangkah is an activity initiated by several people at Studio Malya to experience the relation between walk and surrounding space itself. The perception of the experience can be in the form of an individual's body condition, his relationship with the local community, and the spatial experience..
To share these experiences, Studio Malya offers a zine that contains a foreword and four writings from each individual involved in Berlangkah. The four articles include personal experiences while doing walking activities. The medium of writing in the zine was chosen because of its nature which brings out personal yet holistic expressions.
Contributor Writer
Bayu Nugroho
Fatah Yusi
Hartmantyo Pradigto Utomo
Yoga Pramudya Wadana
Editor
Mega Nur and Yesa Utomo
Designer
Mega Nur
Copy Editor
Karina Larasati
Lahan Becek
Beyond terraformation, towards wet lands of opportunity
Lahan Becek is an ongoing collaborative research project convened by Gudskul, Failed Architecture and the Research Center of Material Culture (RCMC). It explores multiple critical imaginations on the notion of terraforming, specifically by intertwining large scale production of space such as land reclamations and everyday spatial practices in Indonesia. Besides the ongoing archival and field research, these themes have also been examined as a co-learning subject for the Praktik Spasial course at Gudskul: Contemporary Art Collective and Ecosystem Studies. The work of the participating collectives will be virtually exhibited on March 31st 2022, while the initial findings of the Gudskul and Failed Architecture researchers will be presented on April 14th 2022.
Lahan Becek is a slang word of Lahan Basah (wetlands). In Indonesia the phrase is often associated with “open land” or “arable land”. It illustrates the natural state of wetlands perceived in environmental sciences as a place where land is covered by water, such as marshes and ponds, the edge of a lake or ocean, the delta at the mouth of a river or low-lying areas that frequently flood. In casual conversations in Indonesian, “Lahan Becek” is invoked to express “opportunity”, referring to something like a large project, profitable work, or even the loophole for corruption. The socio-linguistic aspect of the phrase reflects the culture of an agrarian and maritime-based society that relies on wetlands as a source of everyday needs.
In this project, Lahan Becek implies the state of ubiquitous wetness as an inevitable situation around tropical land, while also evoking the imagination of prosperity and opportunity with regard to existing wetlands. It also functions as a conceptual counterbalance to the many large-scale land reclamation projects currently taking place across Indonesia, which continue to impose a radical separation of land and water despite rising sea levels and changing weather patterns. By doing so, the term also opens up the possibility for wider discussion on these issues, while highlighting new perspectives on the historical importance of the interface between land and water, the colonial roots of modern engineering and in particular vernacular ‘terraforming’ practices.
Lahan Becek Collective Study Exhibition Opening
The participants of the Gudskul Collective Study batch 3 have, in the context of the course praktik spasial, been working on the notion of terraformation, while remaining grounded in the lands where they are from. The nine participating collectives are based in different areas within Indonesia, such as Jakarta, Bandung, Yogyakarta, Surabaya and Palu. Each collective set out to read, reflect or intervene on the theme within their own context, while taking into account that not only each place is specific but also each collective has its own perspective. All collectives have ultimately produced a work interrogating terraformation and related themes while imagining new spatial futures. All the works are exhibited virtually through Gudskul’s virtual gallery website.
Among the many subthemes disasters have been most prominent, as residues of incomplete pasts and starting points of uncertainty over future spatial developments in Indonesia. Many cultural expressions embody the hereditary intelligence to deal with these changes, which preceded scientific knowledge in daily life. Class discussion has subsequently generated different imaginations, from situated mythology haunting spatial production, shrinking cities, spatial juxtapositions of the nation’s ideology, traces of memory on infrastructure, speculative history of spaces, counter-narratives of space and daily life of a post-disaster zone. Different modes of articulation are used, from performance art, video and a short documentary, myth-making, historical fiction, interactive digital features, archives and photographs.
Exhibition opening : 31st March 2022
Artist talk : *Tbc
Participants :
- It’s In Your Hand Collective (Jakarta)
- Cut and Rescue (Jakarta)
- Forum Sudut Pandang (Palu)
- Studio Malya (Yogyakarta)
- Sokong! (Yogyakarta)
- Rompook (Bandung)
- Prfrmnc.rar (Bandung)
- Kecoak Timur (Surabaya)
- Blanco Benz Atelier (Bandung, Germany and USA)
Subject Coordinator:
- Farid Rakun
- Rifandi Septiawan Nugroho
- M. Rifqi Fajri
Subject Collaborator:
- René Boer
- Daphne Bakker
Support
- Research Center For Material Culture
- Failed Architecture
Lahan Becek Phase 1 Research Presentation
Countless ambitious land reclamation projects are currently reshaping Indonesia’s coastline, mostly for maritime industries but in particular also for high-end real estate near urban centres. These terraforming practices started in the colonial era with the construction of harbours, which were a crucial link in the chains of colonial extraction. Today’s land reclamation projects are in many cases still being carried out by Dutch multinationals, some of which were already active during colonial times. In some cases, such as in the city of Makassar, the process of reshaping the coastal landscape has been going on for more than 400 years. In this particular example, local fishing communities are currently resisting the most recent land reclamations, echoing centuries of resistance against Dutch colonial rule and its most immediate impact.
This research project not only seeks to advance the understanding of the historical and contemporary scope and impact of land reclamations across Indonesia, but in particular also seeks to create space for new, critical perspectives on these phenomena transcending the postcolonial framework and everyday forms of spatial criticism. Through the notion of ‘ubiquitous wetness’, as opposed to the colonial obsession with separating solid earth and wet water, researchers related to Jakarta-based Gudskul and Failed Architecture Amsterdam have engaged with vernacular terraforming practices, shorelines as interfaces and the colonial condition as a context for the emergence of the engineering profession.
Researchers: Rifandi Septiawan Nugroho, Rifqi Fajri, Daphne Bakker, René Boer
Mapping Event / Expert meeting Thursday 14 April
Lahan Becek
Beyond terraformation, towards wet lands of opportunity
Lahan Becek is an ongoing collaborative research project convened by Gudskul, Failed Architecture and the Research Center of Material Culture (RCMC). It explores multiple critical imaginations on the notion of terraforming, specifically by intertwining large scale production of space such as land reclamations and everyday spatial practices in Indonesia. Besides the ongoing archival and field research, these themes have also been examined as a co-learning subject for the Praktik Spasial course at Gudskul: Contemporary Art Collective and Ecosystem Studies. The work of the participating collectives will be virtually exhibited on March 31st 2022, while the initial findings of the Gudskul and Failed Architecture researchers will be presented on April 14th 2022.
Lahan Becek is a slang word of Lahan Basah (wetlands). In Indonesia the phrase is often associated with “open land” or “arable land”. It illustrates the natural state of wetlands perceived in environmental sciences as a place where land is covered by water, such as marshes and ponds, the edge of a lake or ocean, the delta at the mouth of a river or low-lying areas that frequently flood. In casual conversations in Indonesian, “Lahan Becek” is invoked to express “opportunity”, referring to something like a large project, profitable work, or even the loophole for corruption. The socio-linguistic aspect of the phrase reflects the culture of an agrarian and maritime-based society that relies on wetlands as a source of everyday needs.
In this project, Lahan Becek implies the state of ubiquitous wetness as an inevitable situation around tropical land, while also evoking the imagination of prosperity and opportunity with regard to existing wetlands. It also functions as a conceptual counterbalance to the many large-scale land reclamation projects currently taking place across Indonesia, which continue to impose a radical separation of land and water despite rising sea levels and changing weather patterns. By doing so, the term also opens up the possibility for wider discussion on these issues, while highlighting new perspectives on the historical importance of the interface between land and water, the colonial roots of modern engineering and in particular vernacular ‘terraforming’ practices.
Lahan Becek Collective Study Exhibition Opening
The participants of the Gudskul Collective Study batch 3 have, in the context of the course praktik spasial, been working on the notion of terraformation, while remaining grounded in the lands where they are from. The nine participating collectives are based in different areas within Indonesia, such as Jakarta, Bandung, Yogyakarta, Surabaya and Palu. Each collective set out to read, reflect or intervene on the theme within their own context, while taking into account that not only each place is specific but also each collective has its own perspective. All collectives have ultimately produced a work interrogating terraformation and related themes while imagining new spatial futures. All the works are exhibited virtually through Gudskul’s virtual gallery website.
Among the many subthemes disasters have been most prominent, as residues of incomplete pasts and starting points of uncertainty over future spatial developments in Indonesia. Many cultural expressions embody the hereditary intelligence to deal with these changes, which preceded scientific knowledge in daily life. Class discussion has subsequently generated different imaginations, from situated mythology haunting spatial production, shrinking cities, spatial juxtapositions of the nation’s ideology, traces of memory on infrastructure, speculative history of spaces, counter-narratives of space and daily life of a post-disaster zone. Different modes of articulation are used, from performance art, video and a short documentary, myth-making, historical fiction, interactive digital features, archives and photographs.
Exhibition opening : 31st March 2022
Artist talk : *Tbc
Participants :
- It’s In Your Hand Collective (Jakarta)
- Cut and Rescue (Jakarta)
- Forum Sudut Pandang (Palu)
- Studio Malya (Yogyakarta)
- Sokong! (Yogyakarta)
- Rompook (Bandung)
- Prfrmnc.rar (Bandung)
- Kecoak Timur (Surabaya)
- Blanco Benz Atelier (Bandung, Germany and USA)
Subject Coordinator:
- Farid Rakun
- Rifandi Septiawan Nugroho
- M. Rifqi Fajri
Subject Collaborator:
- René Boer
- Daphne Bakker
Support
- Research Center For Material Culture
- Failed Architecture
Lahan Becek Phase 1 Research Presentation
Countless ambitious land reclamation projects are currently reshaping Indonesia’s coastline, mostly for maritime industries but in particular also for high-end real estate near urban centres. These terraforming practices started in the colonial era with the construction of harbours, which were a crucial link in the chains of colonial extraction. Today’s land reclamation projects are in many cases still being carried out by Dutch multinationals, some of which were already active during colonial times. In some cases, such as in the city of Makassar, the process of reshaping the coastal landscape has been going on for more than 400 years. In this particular example, local fishing communities are currently resisting the most recent land reclamations, echoing centuries of resistance against Dutch colonial rule and its most immediate impact.
This research project not only seeks to advance the understanding of the historical and contemporary scope and impact of land reclamations across Indonesia, but in particular also seeks to create space for new, critical perspectives on these phenomena transcending the postcolonial framework and everyday forms of spatial criticism. Through the notion of ‘ubiquitous wetness’, as opposed to the colonial obsession with separating solid earth and wet water, researchers related to Jakarta-based Gudskul and Failed Architecture Amsterdam have engaged with vernacular terraforming practices, shorelines as interfaces and the colonial condition as a context for the emergence of the engineering profession.
Researchers: Rifandi Septiawan Nugroho, Rifqi Fajri, Daphne Bakker, René Boer
Mapping Event / Expert meeting Thursday 14 April
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