First Sight in Jogja
Marco Rios, Christine Nguyen, Lee Wan, Angki Purbandono, Heri Dono, indieguerillas
First Sight in Jogja is an exhibition that is the culmination of a collaborative experience between six diverse international artists. It is intended to encourage each artist to engage with other less familiar artists and to reflect on the limitless histories and cultural nuances they have collected and produced. During the Baik Art Residency at Cemeti Art House in Yogyakarta, the artistsimmersed themselves in the colonial and contemporary legacies of Indonesia, while communicating their unique work ethics and methodologies to each other. First Sight in Jogja engages viewers with a spectrum of diverse artworks that frame the artists’ ideas and jointeffort. The six participants, Marco Rios, Christine Nguyen, Lee Wan, Angki Purbandono, Heri Dono, and Indieguerillas bring their personal experiences and national life lessons to be experienced in one place. The spectacular landscapes of Indonesia helped to undo territorial beliefs and complete their discoveries and purpose within the context of the Baik Art Residency. In the past, the residency has provided a valuable opportunity to showcase artistic exchange and communication that transcends regional boundaries. Hoping to provide a platform for its participating artists to share everyday thoughts and ideas, the first program brought three artists to Mexico City sightseeing and visiting the Sebastían Foundation. After this experience, theyeach went back to their own studios to respond to their travels, the records of which transfigured into artworks that were later exhibited and cataloged.
Following the structure of the first program, the second Baik Art Residency took place in Seoul and Jeju Island, South Korea, with five artists in residence: Ahmad Zakii Anwar (Malaysia), Kow Leong Kiang (Malaysia), Heri Dono (Indonesia), Han Yong Jin (Seoul), and Choi Tae Hoon (Seoul). Guided by Professor Choi Tae Man of Kookmin University, the artists visited culturally significant destinations such as the North and South Korean conflict zone, the DMZ.During the Indonesian residency, the active art scene of Yogyakarta not only set an important cultural stage but also provided artists with an introduction to the classical traditions of Javanese art. Moreover, their time spent in residency in Yogyakarta revealed the particular ways in which contemporary Indonesian artists have appropriated these traditions to comment on their post-colonial views. The distinctions between the host, the visiting artists, and other participants were left fluid. Even though the way in which one participant interacted with another was not predetermined, if the contributors did not have an artistic medium in common, perhaps they had a verbal, cultural, or social language to share. If not a language, then the residency provided room for a communal history to emerge.