Urban Cartography v.01 Komunitas Literer v.01-09-05 disusun atas sinergi:
Common Room Foundation, Tobucil dan Komunitas Dipan Senja

Bale Pustaka
Jl. Jawa No. 6 Bandung 40117 telp/fax. 022 4207732/4207231
email: balepustaka_bdg@yahoo.com
Contact person (cp): puji

Taman Poestaka
d/a Link Art Forum Apresiasi Budaya
Jl. Bukit Dago Selatan 53a Bandung 40135 telp. deni 08122227185
cp: wiku 08562171901

Batu Api
Jl. Pramoedya Anantatoer 142a jatinangor
cp: anton 081320420952

Potluck
Jl. Teuku Umar 9 Bandung
www.potluckcoffebar.com

if venue
Jl. Moh. Ramdan 91 telp. 022 5210379
cp: deden 08526149994

Toko Buku Awi Apus
Jl. Surapati no. 239 d Bandung
awi_apus@yahoo.com
Cp: Inka 08176750269

Manisee Community
Jl. Manisi No. 6 Cibiru, Bandung 40615
cp: Naan Suherman 08157187613

Rohim Agency (distributor buku)
Jl. Raya Cipadung KM. 13 No. 33 Cibiru Bandung
cp. Asep Saefulrohim 08122133018

Zoe bookstore
Jl. Pagergunung No. 3 Bandung telp. 022 7081591 fax. 022 2500682
www.zoecorner.com
cp: adde 081321021869

Ultimus
toko buku, penerbit, distributor, komunitas
Jl. Lengkong Besar 127 Bandung 40261 telp/fax. 022 4237060
ultimus_bandung@yahoo.com

http://ultimus.addr.com

cp: bilven 08122456452

Das Mutterland
Perpustaka & toko buku
Jl. Cihampelas 201, Bandung 40131 Telp. 022 2035271
das_mutterland@yahoo.com das_mutterland@yahoogroups.com
cp: Kiki 022 91111234

Rumah Buku
Perpustakaan, kineklub, toko buku
Jl. Hegarmanah 52, Bandung 40141 telp. 022 2039615
rubuku@yahoo.com rumahbuku@yahoogroups.com
www.rumahbuku.info

Kompleks Pasar Buku Palasari
Sepanjang Jl. Palasari
Amaldi (08122168852)
Faturi (081320349261)
Sasmita Ampera (022 7318175)

Tobucil – Common Room
Toko Buku & Klabs (Klab baca, klab nulis, klab hobi, klab nonton, klab desain, klab jazz, klab blogger, klab belajar)
Jl. Kyai Gede Utama No. 8 Bandung 40132 telp/fax. 022 2503404
tobucil@yahoo.com info@commonroom.info
klabaca@yahoogroups.com
www.commonroom.info
www.diaryproject.info
YM ID: klabaca
Friendster: Common Room (klabaca@yahoo.com)

Pustakalana
Perpustakaan dan toko buku
Jl. Ranggamalela No. 23 Bandung
pustakalana@yahoo.com
cp: hamdan 08562250437

Baca-baca Bookmart
Perkantoran utara Sabuga
Jl. Tamansari No. 73 Bandung Telp. 022 70240774
cp. Andri 081320336087

Gerai Buku Taman Budaya Jawa Barat
Jl. Bukit Dago Selatan No. 53a Bandung 40135
cp: bang zoel 08156111450

Rumah Malka
Toko Buku, Penerbit & Perpustakaan
Jl. Phh. Mustafa 54 Bandung 40124 Telp. 022 70788370
rumah_malka@yahoo.com rumah_malka@yahoogroups.com
cp: daniel mahendra 0817223320

Radja Distributor
Jl. Phh mustafa 54 Bandung 40124
surat_tea@yahoo.com.au
doni 08156077839

Lawang Buku
Distributor Buku d/a Linkart (Forum Apresiasi Budaya)
Taman Budaya Jawa Barat Dago Tea House
Jl. Bukit Dago selatan No. 53 a Bandung 40135
lawangbuku@sundanet.com
cp: deni 08122227185, wiku 08562171901

Tanah Air Klik
Kompleks Pasar Suci JL. Suci Bandung
cp: Gilar (085624711639)

Toko Buku Nalar
Kelompok Kerja Nalar – Jatinangor
cp: Mona Sylviana (085220404117)

Toko Buku Taman Bunga
Jl. Jatinangor No. 159 Jatinangor
iha2003@yahoo.com
cp: imam 08156004381

Toko Buku Cahaya Media
Jatinangor
cp: Adi Toha (081326861535)

Omuniuum
Jl. Sultan Agung No. 9 Bandung 40115 Telp. 022 4232308
Cp: Iit/ Trie

Toko Buku Senyum
Jatinangor
cp: Wawan (08562251841)

Toko Buku Arofah
Pangkalan Damri Jatinangor telp. 022 70277818
Cp: Zaenal (081320167180)

Toko Buku Bamboe
Jl. Kayu Agung I-a4 Bandung
read_bambu@yahoo.com
Cp: Oki (08122480773)

Eat & Read/er
Taman Bacaan & Toko Buku
Graha Putra Business Center 1st Floor Jl. H. Wasid No. 29 Bandung Telp. 022 70213538
Cp: Elta

Senyum Selalu
Toko Buku dan Komunitas
Jl. Bali No. 6 Bandung
Cp: Adzo (081321490234)

Alif Distributor
Jl. Cipedes No. 39/176 a Rt 02/01 Bandung 40152 Telp/Fax. 022 2000671

Beur- Read
Art Gallery, Library and Bookstore
Jl. Dr. Curie Bandung 40171 Telp/Fax. 022 4266584
Cp: Akil

Taboo
Perpustakaan dan Toko Buku
Jl. Dago Pojok 45/161 b Bandung Telp. 022 2505327
Cp: Rahmat Jabaril

Gubuk Dongeng
Toko Buku & Perpustakaan
Jl. Ciumbuleuit 151a Lt. 2 Bandung
cp. Hengki (08164205642)

Toko Buku Litera
Jl. Ciumbuleit 155 Bandung Telp. 022 2041932
Cp. Arlizar

Toko Buku Bigs
Kidangpananjung, Pusair Bandung

Trudee Books
Jl. Baru Laksana No. 83 Rt. 03/15 Lembang Bandung 40391 Telp/Fax. 022 2789749

Pustaka Latifah
Jl. Taman Merkuri Timur I No. 4 Bandung 40286 Telp/fax. 022 7530782
pustakalatifah@yahoo.com

Minor Books
Jl. Cijerah Tengah No. 18 Rt. 02/05 Bandung 40213 Telp. 022 6037501
minorbacaankecil@yahoo.com

Dipan Senja
Jl. Taman Saturnus III No. 16 Margahayu Raya, Bandung 40286
dipansenja@yahoo.com
Cp: Wiku (08562171901)

Yayasan Kebudayaan Rancage
a/n Kiblat Buku Utama
Jl. Karawitan 46 Bandung Telp. 022 7304764
Cp: Ibnu Hijr (081321238634)

Yayasan Jendela Seni Bandung
d/a Nuansa Majalengka
Jl. Sukapura 77 Rt 1 RW 2 Kiaracondong Bandung
Cp: Erwan Juhara 08122305043

Mizan Learning Center
Jl. Golf Barat X No. 2 Bandung 40293 telp/fax. 022 7103950, 7273114
Cp. Hernowo

Klab Penulisan Hardim
Jl. Singaperbangsa No. 1 Bandung

Aksara Salman
Kompleks Mesjid Salman ITbGedung Kayu lantai 2
Jl. Ganesha no.7 Bandung
milis: aksarasalman@yahoogroups.com

Gagasan pemetaan komunitas literer sendiri muncul sejak tiga tahun lalu. Saat itu kami menamainya Peta Buku Bandung. Bentuk gagasan yang ingin direalisasikan sebenarnya sederhana. Kami ingin membuat sebuah peta panduan di mana saja tempat-tempat yang berhubungan dengan buku, di Bandung ini. Formatnya dalam bentuk selembar kertas yang bisa dengan mudah dibawa-bawa sebagai panduan berisi peta dan alamat. Meski gagasannya tersebut sederhana, pada pelaksanaannya banyak sekali kendala yang kami hadapi. Terutama masalah pengumpulan data. Hal ini yang menyebabkan gagasan ini tertunda cukup lama dan semua jadwal yang telah ditentukan tidak dapat dilaksanakan.

Dummy pertama muncul di acara Open House Common Room 2004, bertepatan dengan acara Book’s Days Out #2 di tobucil Bandung. Saat itu kami memutuskan merubah nama dari Peta Buku Bandung menjadi Peta Komunitas Literer Bandung. Perubahan ini kami lakukan untuk menyesuaikan dengan visi, misi tobucil yang selama ini mendukung gerakan literasi tingkat lokal (Supporting Local Literacy Movement). Kami berharap peta komunitas literer Bandung ini bisa mengakomodasi pihak-pihak yang terkait dalam aktivitas literasi di kota Bandung. Mulai dari toko buku, perpustakaan, penerbit, komunitas, kelompok kajian dll.

Seiring berkembangnya waktu, ide pemetaan muncul kembali di Common Room. Perkembangan dan perubahan fokus kegiatan Common Room membuat ide pemetaan menjadi penting dan mendesak untuk dilakukan. Gagasan ini kemudian kami bicarakan kembali termasuk juga kendala-kendala dan metodologi yang paling efisien untuk mengerjakan project pemetaan ini. Akhirnya dari hasil perbincangan itu kami sepakat untuk menamai project pemetaan ini sebagai Urban Cartography Bandung yang merupakan project pemetaan komunitas-komunitas kreatif di Bandung yang rencananya akan diterbitkan dalam bentuk buku. Kegiatan pertama yang dirilis dari Urban Cartography Bandung adalah Bandung Creative Communities 1995-2005 yang mengumpulkan 23 Komunitas Kreatif Bandung untuk berpameran bersama di acara CP BIenalle di Jakarta yang diselenggarakan pada tanggal 5 September s/d 5 Oktober 2005. Sedangkan untuk pemetaan komunitas Literer Bandung, kami merilisnya pada acara Book’s Days Out #4 yang diselenggarakan di Rumah Buku, 17 September 2005.

Urban Cartography v.01: Komunitas Literer Bandung yang kami tandai sebagai v.01-09-05 (versi 01, September 2005). Karena kami tahu belum semua informasi yang kami harapkan tercantum seluruhnya dan akan ada versi berikutnya yang akan memuat data-data yang lebih lengkap. Untuk rilisan versi 01 kami bersinergi dengan Komunitas Dipan Senja yang setahun terakhir cukup aktif menyelenggarakan banyak kegiatan literasi di Bandung.

Bagaimana Caranya Berpartisipasi Dalam Kegiatan Ini?
Kami membutuhkan bantuan anda sebagai sukarelawan untuk mengumpulkan data dan informasi mengenai toko buku, penerbit, taman bacaan, perpustakaa di Bandung yang dekat dengan tempat tinggal anda. Bagi anda yang berminat berpartisipasi dalam kegiatan ini dapat menghubungi:
Jl. Kyai Gede Utama 8 Bandung 40132
Telp/Fax. 022 2503404
website: www.commonroom.info

PROJECT DESCRIPTION
Proyek ini merupakan sebuah upaya untuk membangun peta kecil yang dapat digunakan untuk melacak keberadaan berbagai komunitas kreatif yang sampai saat ini terus berkembang di kota Bandung. Setidaknya sejak periode 1994 s/d 1995, kemunculan berbagai komunitas anak muda yang memproduksi kebutuhan sehari-hari mereka secara mandiri dapat dikatakan ikut menandai babak baru perkembangan budaya urban di kota ini. Hal ini setidaknya juga ikut dipengaruhi oleh berkembangnya wacana DIY (do it yourself), yang pada sekitar tahun 1995 memang menjadi bahan perbincangan yang populer diantara komunitas punk & skateboard yang ada, termasuk diantaranya pada beberapa komunitas anak muda seperti TL (Taman Lalu Lintas), Reverse (Sukasenang), PI (Belakang BIP), Harder (Cihampelas), Riotic (Simpang Dago), dsb.

Selanjutnya perkembangan ini juga ikut didorong oleh krisis ekonomi yang terjadi pada sekitar tahun 1996, yang kemudian ikut memotivasi beberapa komunitas untuk memproduksi kebutuhan mereka sendiri karena melambungnya harga barang-barang impor yang biasa mereka konsumsi. Selain produk musik dan fashion, beberapa komunitas yang ada juga banyak memproduksi & menyebarkan informasi dengan menggunakan berbagai media, dari mulai website, zines, poster, videoklip, stiker, pin, majalah dsb. Hampir semua dibuat dengan memanfaatkan keahlian dalam menggunakan berbagai instrumen teknologi – dari yang paling sederhana sampai pada penggunaan instrumen teknologi terkini – seperti misalnya mesin sablon, mesin cetak, mesin fotokopi, jaringan radio, jaringan internet, sms, komputer rakitan, dan juga termasuk penggunaan software bajakan.

URBAN CARTOGRAPHY V. 01: BANDUNG CREATIVE COMMUNITY 1995 – 2005

PROJECT TEAM

Curator:
Gustaff H. Iskandar
Achmad Marin
Helvi Syarifuddin

Project Officer:
Megadeth

Display:
R.E. Hartanto
Odjo
Ndul
Addy Gembel

Producer:
Reina Wulansari

Publication:
Tarlen Handayani

Project Participants:
Reverse Clothing Company
Monik Clothing
Airplane Apparel System
Nolabel Stuff
Anonim Wardrobe
Fastforward Records
Ujung Berung Rebel/ Homeless Crew
Minor Bacaan Kecil
Harder
Riotic
Omuniuum
Image Nation
Ouval Research
Kolektif Brengsek Berandalan Bandung
Common Room (Bandung Center for New Media Arts & Tobucil)
Cerahati/Biosampler
VideoBabes
Pondok Kreasi
www.newbabylon.tk
Mary Jane
CMNK

Participating Artist:
David Tarigan

Public Program:
DIY Media Workshop by Tarlen Handayani
Origami Workshop by Pondok Kreasi (Dita Anggraeni)

Presented during the seminar “Artepolis: Creative Culture & The Making of Place”, 21-23 July 2006 in Bandung- Indonesia. Organized by Department of Architecture, School of Architecture, Planning and Policy Development, Institute of Technology Bandung.

Research Project by Common Room Networks Foundation
Research Team : Gustaff H. Iskandar, R.E. Hartanto & Tarlen Handayani
Editor : Tarlen Handayani
Translation : Gustaff H. Iskandar, R.E. Hartanto & Reina Wulansari

PROJECT BACKGROUND
This project is an effort to build a small map that can be used to trace the existence of various creative communities growing in Bandung. At least since 1994 -1995 periods, the emergence of some youth communities that produce their daily needs independently in the local basis, can be said to mark a new phase of urban culture development in Bandung. This is at least also influenced by the development of DIY (Do It Yourself) ethics that at the time was the rage among the punk and skateboard communities, such as some of the youth communities that was used to hang out at some particular places in Bandung, like TL Skate Park (Taman Lalu Lintas), Reverse (Sukasenang Area), PI (Around the backside of BIP), Harder (Cihampelas Street), Riotic (Simpang Dago), etc.

Early local DIY products in Bandung started to appear in around 1994-1995 periods. This process was also influenced by the economic crisis that was happened in year 1996-1998, which triggered some youth communities to produce their own needs because of sudden jump on prices of the imported goods that they used to consume. Besides music production, small scale clothing industries & books, some of the communities that exist also produce and spread information in large quantity using various medium, from website, zines, posters, video, stickers, pins, magazines, etc.; which almost all are made by using skills in technologies instrument_from the simple to the latest_such as silk screen printers, digital printers, photocopy machine, radio networks, internet network, sms, self-built computers (that using pirated software), etc. More or less, DIY ethics in Bandung are also being introduced by the development of ISP business, which was started in 1995.

Using self-participatory research method, this project was initiated by Common Room Networks as a result of 10 years observation on the development of creative communities in Bandung. While including artist, this research were also participated by individual & local youth communities that have been very active in Bandung creative scene in the past 10 years. Some part of research material from this project has been exhibited at CP Biennale 2005. [1]

URBAN CARTOGRAPHY PERSPECTIVE/ BANDUNG CREATIVE COMMUNITIES
This particular project were being developed under the following conceptual frameworks & hypothesis:

1. Migration, Mobility & Urban Diaspora
Certain individual/ communities in the city of Bandung were experiencing the detachment process from their respective origins/ place. Perhaps this process also appears in the form of confrontation with new territories, new habit & tradition; including the process of adaptation with the new situation in the city.

2. New Technology & Construction/ Deconstruction of Identity
Mobility & adaptation process stimulates the construction/ deconstruction of identity. Recent generation in Bandung (post-1990 generation), are being detached with the “old” ideology and absorb the influence that rise within the development of new technology & global capitalism, which later on creates new way of communication/ individual expression in their personal/ social life.

3. Politics of Surveillance: Power & Control in Urban Territories
How various elements in urban society of Bandung were working as representation of power with a particular economic/ political interest? Urban surroundings in Bandung allow every single individual takes control & see each other as their counterparts. This premises aims to discover the relation between micro/ macro political gestures with everyday life situation in Bandung as an “Urban Village”.

4. Terrorism & Urbanity
This notion examines various forms of fear and its multiplication trough media/ public space in the city of Bandung. How people deal with crisis, uncertain economic/ political situation, fear & various form of terror in Bandung?

5. Connectivity & Various Form of Displacement/Alienation
New technology allows us to discover new way to communicate with each other, including the new way in understanding the “other”. This new connectivity shapes our daily urban surrounding, but in the same time also creates tension in the form of displacement & alienation (e.g. economic/ political gap, identity crisis, culture shock, paranoia, etc.).

6. Land Use Issue: Public Domain vs. Private Interest
Conflicts of interest in land use issues that confront stakeholders of the city: local government, private sector & city inhabitant. Case study: Babakan Siliwangi City Park.

7. Urban Narratives
The need to creates new stories & myth in order to “re-creates” the identity in Bandung urban terrain

HISTORICAL LANDMARKS

Colonial Periods

Tracing roots of development in Bandung urban culture, we cannot disregard some important historical fact on how this city was built. Governor General J.B van Heutz stated Bandung as an open city in 21st February 1906, a hundred years after General Maarschalk H.W. Daendels order to build the City of Bandung in 1809. On statistic report, which was released by Gemeente Bandoeng in 1st January 1921, the number of European inhabitant in Bandung during that time was 10.658 populations. Perhaps this particular fact also made Bandung as a modern city, with “European” standard of living. In education field, the developments on modern educational infrastructure were also quite significant. From some notes made by Haryoto Kunto, at least there are 4 government school in Bandung was build since 1823. Some of these particular institutions are Bumi Putera elementary school at Karang Pamulang (near by Kebon Kalapa terminal), a Frobelschool (Kindergarden), Elementary school for European student and polytechnic school (Ambachtschool). Besides that, there are also other schools e.g. School for Teacher (Kweekschool), M.U.L.O School, H.B.S, Technische Hoogeschool (currently known as ITB_Institute Technology of Bandung), etc. Besides the impact of ethical politics policy, which was implemented by the Dutch colonial government, the appearance of modern educational institution in Bandung was also influenced by the rise of necessities for local educated workers, which once belongs to Europeans who travel to Indonesia [2] . The existence of education facilities practically influences the city’s academic life. No wonder that the City of Bandung also known as “het intellectueele centrum van Nederlandsch-Indie” (the center for academic activities in Nusantara) [3] .

Private sector entrepreneurs (known as Preanger Planters), with their financial capital & life style also has some important influence in building the modern infrastructure that can support their daily activities in Bandung. During the colonial period, a number of commercial building in the form of cafe, bakery shop, hotel, bar & restaurant were already existed, besides racetrack, football stadium, concert hall & cinema. Up until 1932, Bandung was recognized as the center for tourism in Nusantara [4] . Annual trade show (also known as Jaarbeurs) in Bandung was becomes a regular program that exhibited agriculture & industrial product from the whole area of Nusantara. Some major international trading companies also supported this particular activity, which usually accompanied by cultural festival that was participated by international artists. In 1930, Jarbeers are able to attract 165.178 visitors, ranging from European, Chinese & local guest. As comparison, in 1930 the local city inhabitants of Bandung were 156.889 populations. During that period, Bandung was considered as a perfect place to develop a center for European colony in Nusantara.

Pre and Post Revolutionary Periods (Independence Movement)

Radical change in colonial politic constellation and the power switch from “Align Forces” to Japanese occupation, which leads into Indonesian independence movement; drastically change the life of the people in Bandung in the 1940’s. The search of the new character in the city life then continue in the 1950’s during the Asia-Africa Conference in 1955, which became an important momentum that marks the starting point to develop new character of the city in post-revolutionary period, with an explicit remarks to open Bandung from foreign influence. This particular conference, which was organized in 18th-24th April 1955, also encourage the Indonesian government to support some public figures, forming an ad hoc board for developing new universities in Bandung. In 20 October 1954 Perguruan Tinggi Pendidikan Guru (PTPG) was established, which later on became Universitas Pendidikan Indonesia (UPI- Indonesia University for Education). Again in 14th August 1956, Universitas Negeri ad hoc team was formed to develop new universities in Bandung, which today were known as University of Padjadjaran (UNPAD).

1960

The existence of Kus Bros music group (also known as Koes Plus) in early 1960 marks the birth of first Indonesian pop generation. During this time, existing life style not only being influenced by massive change in political life, but also affected by social and economic situation, as well as foreign influence trough Western European & American pop music industries. Almost in the same period, dangdut music was also being developed and most of its player was playing in the group format and known as “Orkes Melayu”. Political transition from old to new order regime in 1965 influences the birth of new generation known as “Angkatan 66″ (Generation ‘66), which are holds an important position during the transition period. Most of them were come from universities, which were already existed in Bandung. Some of this new generation also initiated the birth of amateur radio station, which also becomes a model for private radio station in Bandung. For example, Radio Mara started to operate in 1968. These radio stations were also well known for its critical voice in accommodating the aspiration of the people, besides playing pop & dangdut music.

1970

In the 70’s the development of life style in Bandung was effected by the significance “Aktuil” Magazine, which had first issue on the 8th June 1967. Deni Sabri, the eldest of Sabri Gandanegara who was a vice governor of West Java in the period of 1966 -1974, was the founder of this magazine. It was named after a magazine that was issued in the Netherlands, “Actueel”.[5] The period of 1970-1975 was the momentous of Aktuil when it became the essential reading for the youngster in Indonesia. Moreover, after the artist Remy Sylado enhanced the experiment of Mbeling poetry in the form of serial article named “Orexas”, pointed that Aktuil is the youth magazine, which has a subversive spirits. The Orexas was not refered to a god or a hero in Greek Mythology; it was the acronym of Free Sex Organization. The Mbeling poetry was meant to oppose the rules in formal language, which then it became the symbol of resistance to the guideline of formal language (EYD); the formal guideline that are being introduced by the Indonesian government in 1972. Generally speaking, one has not yet a youngster when one has not read Aktuil magazine, and this was not exaggerated. Moreover it was considered as a bible, particularly by the rock mania that was a big hit in the 70’s. The fame of Aktuil was falling in the end of the 70’s, surprisingly after they had successfully invited the rock group music Deep Purple in 1976. And since 1978, in most universities in Indonesia was applied the “Normalization in Campus Life Policy” (known as NKK-BKK). Enin Supriyanto refers this regulation as a government control to the academic and social life.[6]

1980

During this period, military power holds control in government policies. Started with “ABRI Masuk Desa” policy (Army Goes to Village Policy), the military control in people’s daily lives are becomes more dominant. What happens among the 70’s generations are becomes impossible in the 80’s. Any kind of act that are being consider as insulting or confronted the government policies were regarded as violating the laws (UU No. 11/PPs/1983), known as Subversive Laws. During this period, most of the life style are switching into the “save” mode to avoid subversive act. Perhaps this also encourages the development of motor gank and hobby club. Black Angel and The Motor are two-respected motor gank in the 80’s, which later on also influence the birth of Biker’s Brotherhood in the 90’s.[7] Automotive club during this period often takes part in bazaar & festivals, and give an important influence in the street culture development in Bandung. Various event organizers that are very active in organizing automotive show in Bandung are being born (such as KELPIE). In the mid 80’s, a small skate park in Taman Lalu Lintas (Taman Ade Irma Suryani) brought the existing of skateboard communities, which also influence the birth of BMX, Hardcore & Punk communities, which are popular in early 1990. Trough this youth communities, the DIY ethics (Do It Yourself) are being introduced as ideas that encourages individual participation in forming a counter cultural act. RCTI, the first private TV broadcast station are began to operate in 1989, and marks the end of TVRI domination (National Television) as the only TV station in Indonesia.

1990

In the 90’s, global stream and foreign investment are actively penetrates Indonesian social & economic spheres. The development of life style & urban culture in Bandung were heavily influenced by some particular situation in social, politic & macro economic sector. To understand the new tendency in the 1990’s, perhaps we can consider these two major phases:

1. First Phase, Before Economic Crisis (1990-1997)
Global trends, inseparable with the globalization process and the development of new technology are becomes a massive influence in the development of life style and urban culture in Bandung during the 90’s. Reverse, a small music studio in Sukasenang area could be regarded as an important example. This place also becomes an important seeds that stimulate the development of Bandung youth communities in the 90’s. In its early development, Richard, Helvi & Dxxxt (former Reverse initiator), not only use Reverse studio as rehearsing studio for various bands (mostly plays rock music), but also as a hang out place and small outfit company. In the beginning, they only sells specific product for rock music and skateboard fans. It can be said that Reverse becomes the first nodes of youth community development and youth subculture at that times. Later on, Reverse also became a distro, selling CD, audiocassette, poster, artwork, and accessories, including the other imported & local stuff.[8] In 1994, some youngster that used to hang out in this place was publishing “Swirl”, youth magazine that covers the activity of music & skateboard scene in Bandung.

In 1992, GMR radio in Bandung is the only radio station in Indonesia that broadcasted demo tape from new bands in this city. Troughs the talented hands of the late Samuel Marudut, this radio station also influence the development in the Bandung music scene during that period. Besides triggering the development of music communities in Bandung, GMR also promoting some rock bands from other cities like Jakarta & Surabaya.

Almost in the same periods of time, the APEC leaders meeting in Bogor (1994) declares the free trade agreement, which are projected to start in 2002. In the same year, Internet Service Provider business (ISP) starts to develop in Jakarta. Until 1995, Bandung was one of the third cities with larger Internet user in Indonesia. At least there are 10.000 Internet users in Jakarta, 1000 in Bandung and 3000 users in Surabaya. Political situation during this period was accompanied by the riot in East Timor and the banned of three major Indonesian media by the government: Tempo, Detik and Editor. In Bandung, the resistance movement against censorship from the government was represented in the underground media publishing, such as FOWI and INDEPENDEN.

During this period, hobby club and communities are moving into more political tendency. Alternative discourse and independent spirit are becomes the buzzwords among the youngster. The birth of Partai Rakyat Demokratik in 1996 (Democratic People Party) also influences the ideology of punk and hardcore communities in Bandung. Most of these communities started to distribute information in the xeroxed magazine as an alternative media. Known as Zine, this alternative media were holds a strong influence among youth communities in Bandung during that time. Submissive and Tigabelas was some of the examples.

The development in the music scene also stimulates the birth of independent record labels, which was developing an alternative distribution channel trough the using of Internet as their media and promotion tools. Started from the mid 90’s, Richard Mutter, former drum player from Pass Band stated that he got some order from Japanese underground music fans from the internet when he releasing music under 40124 Records. From this label, he also releasing a legendary compilation album called “masaindahbangetsekalipisan” in 1996, which contain songs from underground band such as Full of Hate, Rotten to the Core, Sendal Jepit, Cherry Bombshell, Puppen, Balcony, etc. The underground networks were become well developed in 1997. During this year, Tian An Men 89 Records, a French record label company releasing a hardcore compilation with the title “Injak Balik! A Bandung HC/Punk Comp.” This compilation supported by a number of Bandung bands such as Puppen, Closeminded, Savor of Filth, Deadly Ground, Piece of Cake, Runtah, Jeruji, Turtles Jr., and All Stupid. Most of the subject matters from the music of this album consisted of various political statements conveyed straightly by the bands involved in the project.[9]

Indiepop music movement started to appear in Bandung when Pure Saturday releasing their first album independently in 1996 (Pure Saturday, Baccott Management, 1996). This movement stimulates domino effect within the rise of bands who playing pop music in various form and format. There are about 75 bands in Bandung and Jakarta who plays this particular style of pop music during that time. Besides indiepop music, hardcore music scenes were also being developed in more massive form during the same periods. A festival called “Bandung Berisik” becomes an important remark amongst the hardcore music fanatics. Starting from a small music event, this festival becomes a stadium show scale with 10.000 audiences. Major Cigarette Company and local government in Bandung even sponsored this particular show.[10] The movements were also being supported by the appearance of independent media such as Revogram, Morbid Noise, and Brainwashed, which also documenting the development of this particular youth scene. Most of this independent media use a simple technique of reproduction and distribution by using xerography machine. More advance medium was presented by later generation of youth publishing company like Ripple Magazine (1999-present) and Trolley Magazine (2000- 2002).

Besides the influence of global capitalism in the form of multi-corporation product & media such as McDonald and MTV, the polarized youth politics/ ideology in Bandung urban culture & life style also being developed under political repression, mixed with globalize information flow that bring in the western life style propaganda. This creates multi-layered character among youth communities in Bandung, which was known for its DIY spirit & independency. Perhaps this also stimulates further developments for creative communities in Bandung, especially during the time of economic crisis and uncertain socio-political situation.

2. Second Phase: After Economic Crisis (1997-2000)
Economic crisis in Indonesia has a significant impact among youth communities in Bandung. During this period, the DIY spirits appears in the more concrete form. It transforms the political & economic gestures among youth communities, from loyal imported stuff consumer into a creative producer. A lot of youth communities in Bandung started to produce their own daily needs independently, and supporting local economic empowerment among community member. Some of them are started to establish clothing company, independent records label, produce & distributing media, and so on. 347/eat (1996), Riotic (1996), Airplane (1997), Monik (1997), Ouval Research (1997), No Label (1997), Harder (1998), Anonim (1999), FastForward Records (1999), Ripple Magazine (1999) and many more are among the first generation of creative communities that marks the landscape of Bandung creative scene today. Most of these communities produces & distributes local made products, inseparable with particular design style and trend, which directly influenced by global trends. The development of information technology, which connected the “local” with the globalize worlds, triggering the further development & creating the new identity of Bandung creative scene. Not only consuming the “foreign” life style, within its particular representation trough ideology and identity of the “other”, but also deconstruct the information flow into a new form of local product, which later on absorbed by local market. This in return creates the new trends of life style, with a unique form & character in Bandung urban terrain.

2000 – present
During the early steps of new millennium, the Indonesian economic situation slowly became more stable. Local made products, which was produced by Bandung creative communities started to gain significant economic values. This was shown by the contribution of relatively huge financial investment in the DIY spirit business unit. Some clothing company are being able to open their own store, absorb 60 employee, open distribution channel in other cities, or even supporting local cultural events such as music concert and art exhibition. The emergence of initiatives spaces also became an important remark on the development of Bandung creative scene. Since year 2000, early dynamics of the existed initiative spaces has a strong influence on the activities of Bandung creative communities. Some of these spaces are come and go, appears in permanent/ semi permanent space such as Barak Gallery (RIP), Trimatra Center (RIP), If Venue (RIP), BTW SPACE (still in operation), Common Room (still in operation), ROOMNOONE (still in operation), Ujung Berung Rebel (still in operation), Rumah Musik Harry Roesly (still in operation), and so on. This particular places, were born from individual/ collective initiatives to accommodate aesthetic aspiration, which are considered as the “other” by established space/ institution.

Besides the rise of new initiatives spaces, the development of literature communities in Bandung also marks a significant tendency. In 2nd May 2001, Pasar Buku Bandung (Bandung Book Market) was established. Later on, in 2002 Pasar Buku Bandung was changing their names into Toko Buku Kecil (known as “Tobucil”, a small bookshop). Using the space at Trimatra Center, which was originally established by communities of architect and projected into a space for collective activities, Tobucil started to adapt the concept of independency with cross subsidies approach, which mix the business (selling books) and community program. This bookshop also holds a mission on supporting local literacy movement, a credo that bears within the spirits of independent communities trough the everyday life perspective as their common platform. Some says that we can regarded Tobucil as part of post-modernist floats, were everyday life and micro components in our daily activities became the main source for understanding realities.[11] Trough the birth of Tobucil with its simple concept on literacy movement, which was easily accommodated by the public needs, the rise of “alternative bookshop” was became a new stage of development for literature communities in Bandung. From the database, which is being developed by Tobucil trough the Peta Buku Bandung Project (Bandung Book Map Project) in 2003, there are about 50 places that adapted the concept of local literacy movement in Bandung.

In the early 2000, the publishing of Trolley Magazine (2000-2002) distorted the establishing perspective & current trends in the youth magazines that existed during that period. Within its own way, this magazine also re-directed the perspective of younger generation in disseminating the current life style trough existing media. Even that the magazine are no longer exist, the style that applied in Trolley Magazine are becomes a patron for younger media publishing company in Bandung. Almost in the same periods, Boardrider Magazines (only publishing 4 editions), releasing a very specific aspiration from skateboard and surfing scene, not only from Bandung, but also from other cities in Indonesia. The emergences of young writer in Bandung are also an example that marks the important stages of development in Bandung literary scene. Dewi Lestari (known as Dee), releasing her novel entitled “Supernova”, which are independently published, and distributed trough an alternative distribution channel. This novel can be considered as a booming since its became very popular an give a significant influence for literature in Indonesia.

Some important events during 2000-2005
Bandung Art Event (2001). An art activity formerly designed bi-annually, tried to combine the whole artistic elements in Bandung into one big programme. Although the programme was later abandoned, the event marked the awareness of combining many elements and art communities in Bandung, through their satellite programmes.

Dago Festival (2002-2004). Street festival that marks how commercial activity (through tobacco company) involved so many people and communities in Bandung.

Class of ‘95 (2005). An Indie-pop visual showcase dedicated to youth indie-pop culture grown in Bandung starting from 1995. During the period, a specific style applied to music scene, laboring new independent bands and labels, inseparable from developed graphic arts trends. The presentation of the project consist posters, photography, t-shirts, and memorabilias. In the opening day, live band performances attracted crowds from Bandung, Jakarta, Yogyakarta, and Bali, compressed in a tiny space.[12]

Initiation of Cipularang highway (2005), connecting Bandung and Jakarta. The most important impact is the shrunken distance between Jakarta and Bandung. It opens many opportunities for Jakartan to participate in creative communities’ activities in Bandung, giving impacts of economy or benefits.

Bandung has some designated areas projected as commercial districs since the Dutch colonialization such as Asia Afrika Street and Braga Street. These areas are still functioning today as they were before. In the later development, in the early of 1980s, ruling major Ateng Wahyudi stated policy that transformed residencial area into commercial area in Cihampelas street, accommodating business interest. This area was later well known for jeans, as well as other wearable products, sold mainly to lower-class market and attracted significant number of buyer from Bandung and other places. Dago (officially: Ir.H. Juanda) Street experienced the same transformation in a bit later period. Existing residential area was grown into a floating “semi-commercial” zone, license were given to those who applied to develop business in the vicinity. Transformation of existing residential area into a touristic commercial area has increased greatly after 1998. The same thing happens to Riau (officially: L.L.R.E. Martadinata) Street. It is now crowded with factory outlet, cafe, and restaurant with more upper-class market to differentiate with business running at Cihampelas Street. Clothing shop boom started in 2002.

The shifting of land-use triggered even bigger commercialization. In most cases, inhabitants prefer to move out to quieter and cheaper-tax environment. Slowly, residencial areas turn completely to commercial area, without adequate policies that support sustainable economic aspect in its relation with wider city-planning context. As soon as Cipularang & Pasupati highway came into function, stream of domestic tourists, mostly from Jakarta, overflowing the new existing commercial areas and triggered supplementary business such as cafe, restaurants, hotels, advertisement media, etc. It later influenced Bandung creative communities. Lifestyle turned into commodity, supported by big capital interest. Clothing shop boom in 2002 and both local & national media exposures created snowball effect which later on employed creativity in it’s relation with market demand, instead of DIY spirit and experimentation.

Desaturation of Ideology
Changes in macro geo-politic after the fall of the Soviet-Union in the early of 1990s affected Indonesia ten years later. During his presidency Abdurrahman Wahid invited former PKI exiles to return to Indonesia in 1999, and proposed removing restrictions on open discussion of the communist ideology. In arguing for the removal of the ban, Wahid cited Indonesia’s original 1945 constitution, which did not prohibit or even specifically mention communism. Wahid’s proposal was vigorously opposed by some sectors of Indonesia society, especially conservative Islamic groups [13] . Ideology, as an important and painted the colors of some creative communities transformed into business commodification. Icons of resistance such as Che Guevara, Lenin, Marx, etc. appeared in t-shirts and stickers, applied not to represent ideological vision but instead being a part of the lifestyle itself. It seems that this particular transformations were accepted by the market without any reserve (?).

Creative Communities and Their Puzzle
Initiative spaces have grown in Bandung since 1974 (Decenta Gallery), covering art & culture in normal definition. Knowing the fact that association/brotherhood/collective/gang/etc have always been existing in Bandung since long period, initiative spaces seem to be a extension of this natural character of Bandung people, to be together, to gather with others within the same interest, in order to survive. In this presentation, initiative spaces are identified as organizations facing issues of: space management, programme management, and have programme dissemination. These initiative spaces include: Decenta (1974-1984), SOS (1982-present), RedPoint (1993-present), Galeri Padi (1997-present?), Galeri Barak (1997-2001), Galeri Adira (1999-present), Galeri Fabriek (2002), Rumah Proses (2002-present?), Selasar Sunaryo Art Space (1998-present), Studio Pintu Merah (2005-present), BTW Art Space (2003-present?), Room no. 1 (2004-present?), Common Room (2003-present), Rumah Nusantara, Trimatra Centre, Jendela Ide (1995-present), Rumah Musik Harry Roesli (d/h Depot Kreasi Seni Bandung), etc. Literacy communities include: Tobucil, Rumah Buku, Omuniuum, Rumah Malka, Ultimus, Toko Buku Nalar, etc.

During the same period, communities inspired from “organic” activities such as daily experiences, discussions, and contact with certain information were formed into shape. Those organizations (mostly informal) or communities were used to channel artistic ideas, express identity/class related problem, state political aspiration or merely used as economic instruments. This form of communities include: VideoBabes, VideoLabs, Komunitas Malaikat, Abstrax, Gerbong Bawah Tanah, Rumah Grafis Cidamar, Studio Pohaci, Kopi Pait Society, Studio Jeihan, Cerahati & Biosampler, Pondok Kreasi, Ujung Berung Rebel/Homeless Crew, Riotic, Reverse, Harder, etc.

Along with the rest of formal institutions function in art-culture field, these creative communities have completed the creative class in Bandung. They contribute to the development of urban culture and voice their aspiration from various perspectives, but the fact that surviving communities are few in number shows that sustainability is a very serious issue. Puzzles of creative communities according to our records cover:

Internal handicaps

* Internal management of space & programmes
* Vision, mission & strategy
* Intuitive business development instead of researched one

External handicaps

* Blurred government policies toward creative industries as economic potential
* Tax mismanagement and intransparency
* Lack of clear policy that would rule the business of creative industries
* Lack of strategy to project creative industries as a sustainable economic development
* Lack of adequate infrastructure to support creative activities in Bandung
* Lack of land-use policy in its relation with city planning as a whole to nourish creative industries. Example: creative communities cannot afford increased price of land used by commercial business

Publication
Publication on creative activities in Bandung has so far done partially in forms of event reportage or product catalogue. Decent reviews or critics who intensely record and widely publicized in order to set a standard or milestone of creative activities in Bandung are close to inexistence.

Perception of Independency
Narrow perception of independency hold creative communities from co-operating with other institutions in order to help their sustainability. Independency that percept as a non-compromise attitude would give nothing but waste of human and financial resources because everything has to be done “independently”. Independency should be seen as a process to develop a strong bargaining position with any institution through clear and fair negotiations. It is important to understand that this process would take time and patients.

Footnote:
[1] Museum Bank Indonesia, Jakarta -Indonesia, 5 September -5 October 2005. The biennale are being shut down after threated by FPI (Fronts for Islamic Defenders) for exhibiting works that shows nudity and insulting some particular Islamic group.
[2] W.F. Wertheim, Indonesian Society in Transition: the Changing Status System, page., 207. Social Inequality, edited by Andre Beteille (Penguin Education, 4th published, 1974)
[3] Haryoto Kunto, Semerbak Bunga di Bandung Raya, page., 828 – 831. (P.T Granesia Bandung, 1st published, 1986).
[4] Haryoto Kunto, ibid, page., 529.
[5] Info: http://id.wikipedia.org/wiki/Aktuil
[6] Enin Supriyanto, Against to Defeat, Resist the Repression of the New Regime Civilization (The affirmation in front of Bandung State Court to answer the claim of the State Authority, page 157, 10th February 1990).
[7] Interview with Tommy Dwijatmiko (Fuck You! We’re From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com)
[8] Fuck You! We’re From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[9] Fuck You! We’re From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[10] Efek Domino Angkatan ‘95 (Gatra Magazine, 25 Maret 2005, page 82-83)
[11] Kompas Newspaper, Sunday, 19th May 2002, page 13.
[12] Link: http://commonroom.info/bcfnma/class95.html
[13] http://en.wikipedia.org/wiki/Communist_Party_of_Indonesia

Pameran yang dikuratori oleh Wulf Herzogenrath ini menawarkan ikhtisar singkat evolusi video art semenjak kelahirannya pada tahun 1963 hingga kini; ingin mendiskusikan pengaruh seniman-seniman Jerman dalam konteks global secara singkat; dan dimaksudkan sebagai bahan studi yang sangat bermanfaat bagi siapapun yang ingin melihat lebih jauh relevansi mutakhir perkembangan seni, sains, estetika dan teknologi.

Pameran ini akan dibuka oleh Rektor ITB:
Prof. Dr. Ir. Djoko Santoso, M.Sc

Senin, 7 Juni 2005
Pukul 19:00 WIB
AULA BARAT ITB
Jl. Ganeca 10
Bandung – 40132

Selanjutnya pameran akan berlangsung hingga tanggal 30 Juni 2005
Ruang pamer dibuka setiap hari Senin – Sabtu, pukul 09:00 – 17:00 WIB

Program Khusus:

8 Juni 2005, pukul 15:00
“Perkembangan Video Art di Jerman hingga 3 tahun terakhir”
disertai pemutaran slide dan video dokumentasi
Pembicara: Jochen Saueracker

9 Juni 2005, pukul 15:00
“Infrastruktur Video Art”
Pembicara: Agung Hujatnikajennong, Gustaff H. Iskandar, Ade Darmawan

Pemutaran karya-karya video art Indonesia akan dilakukan setiap hari Rabu – Jumat, pukul 13:00 WIB, selama pameran berlangsung.

Seniman:

Anna Anders
Claus Böhmler
Birgit Brenner
Klaus vom Bruch
Ingo Günther
J.F. Guiton
Wolf Kahlen
Dieter Kiessling
Franziska Megert
Marcel Odenbach
Nam June Paik
Ulrike Rosenbach
Reiner Ruthenbeck
Jeffrey Shaw
Wolfgang Staehle
Wolf Vostell
Herbert Wentscher

Program khusus berupa pemutaran karya video art Indonesia. Menam-pilkan karya-karya:

Frino Bariarcianur
Reza Afisina
Irwan Ahmett
Henry Foundation
Eko Nugroho
Sulasmoro
Prilla Tania
Ari Satria Darma
Doddy Mustafa
Andry Moch
Gustaff H. Iskandar

Kurasi oleh: Agung Hujatnikajennong

Karya-karya ini disusun sebagai kompilasi video art berjudul:
SIGNAL_RE-CO[R]DED

In 1996, a group of young people from the dynamic Indonesian city of Bandung, came together. They shared a love of surfing, skateboarding and graphic art, all still relatively undeveloped in average Indonesian society at that time. The result of their common interests, and union, was the clothing label, ‘347 boardrider co.’

The theme of the first items produced by 347 was definitely boardriding and streetwear. They were instantly popular from the south coasts of West Java through to the most industrialized cities of Indonesia, such as Bandung and Jakarta, even though sales were mainly through word of mouth and simple catalogs. Due to their vast success and increasing custom demands, they opened their first store in 1999 and hence became the pioneers of independent clothing labels in Indonesia. ‘347 shophouse’ in the center of Bandung has been a city institution ever since.

347 continues to hook up with the modern day trendsetters of Indonesian youth, from musicians, surfers, skaters, artists and even DJs. These people frequently wear the 347 label, and from that they command the international exposure that they enjoy today. But despite commercial success, the underground scene in Indonesia continues to focus what 347 is, and will always be the driving design force.

However, if you examine our products, you will also appreciate that functionality, fashion, culture, music trends, innovative graphic design and global trends are all evident in our clothes. We work hard to keep our finger on the pulse, every day. We balance all of our influences carefully, from skateboarding to surfing, hardcore to electro, underground to mainstream. We try to explore boundaries rather than marginalize our designs. We celebrate diversity and freedom of expression.

From 347 become EAT. It was borne after extensive explorations into graphics and design. We feel that is represents one of our important yet diverse design concepts… that fashion is not simply about putting clothes on your back, but rather a broader experience that represents who you are, what you do and where you stand, in short, is a reflection of your soul.

Our background places us amongst the most complex, progressive and creative people in our artistic community, who definitely endorse our design and fashion concept. We are recognized as an expression of the attitudes of our time, of our new generation. We strive to represent the culture and lifestyle that is a reflection of the contemporary world of which Indonesia is now a part. We celebrate plurality and enjoy the dynamic effects of the new technological advantages available, that give us access to the whole world, instantly.

Our range is similarly varied and diverse. Each piece is a piece of the puzzle, which reflects our total concept. As Andy Warhol extolled, ‘anything goes with anything’. We never marginalize our concept by trying to adhere to just one product or image to represent our direction. The key to our design direction is that as long as it embraces the values that we stand for, it’s EAT. Just do EAT!

CV

May 2004 “Undiscovered Territory”, Galeri Oktagon, Jakarta
July 2004 “Modus & Media” with trans-eat, Galeri Kita, Bandung
July 2004 “wearehere”, Potluck Coffee Bar and Library, Bandung
Aug 2004 “Bali Fashion Week 2004”, Westin Resort, Nusadua, Bali
Sep 2004 “Eltono Street Art Exhibition”, with trans-eat, Eltono Gallery, Poland
Okt 2004 “Insomnia 48”, Art House, Singapore

The result is compiled in 13 video works made by 1 group & 11 invited individuals with various approach and arrangements. For this project, Bandung Center for New Media Arts invited participants who were not entirely familiar with the video medium to submit their works. The result was screened during the Puisi Mbeling book’s launching in Common Room in December 2004, followed by discussion with Remy Sylado him self, and participated by the public audience.

Puisi Mbeling is known as Indonesian subversive poetry movement in the 1970’s, with its leading figure Remy Sylado. It was first published as a regular column in Aktuil Magazine, a leading Bandung’s youth magazine in the 1970’s. During its time, this magazine is considered as the only publication that recorded and accommodated cultural aspiration of young urban generation in Bandung and other city such as Jakarta, Surabaya, and Medan, reaching 126.000 copies circulation; this level of circulation was the highest among other youth media scenes in Indonesia in the 1970’s.

Video Mbeling workshop participants consist:
9 Nyawa & Friends, Puji Siswanti, Dewi Aditia, Yustinus Arditya, Andry Moch., Prilla Tania, Raka Auliantara, Muhamad Iqbal Rezeki Awal, Amelia Lestari, Dodi Mustafa a.k.a DOMUS, Hendy Hertiasa a.k.a Party Maker Inc. and Dhany Anugrahman.

“AFTER PARTY” Fashion Performance

Artist: Tiarma Dame Ruth Sirait

In collaboration with:
Martha Widjaya– Fashion Illustrator
Adhya Ranadireksa – Photographer
Krishna Satmoko (N’cheese) – Photographer
Prilla Tania – Video Artist
Hendi Hendriansyah – Party Maker
Biosampler

Currator: Gustaff H. Iskandar

“How wondrous! How wondrous!”

A dress has no life of its own unless it is worn, and as soon as this happens another personality takes over from you and animates it, or tries to, glorifies or destroys it, or makes it into a song of beauty.

We are bombarded today by such a quantity of images that we can no longer distinguish direct experience from what we have seen for a few seconds on television. The memory is littered with bits and pieces of images. As you can see it today.

One way to look at the future being digital is to ask if the quality of one medium can be transposed to another.

Now, for nothing is really itself anymore. There are pieces of this and pieces of that, but none of it fits together….Everything falls apart, but not every part of everything, at least not at the same time. They regarded us as a piece of fiction-like one of their movies-which they could edit and improve.

And it sickens me in and out. Thinking who am I over and over again.

Thus, doubts and indecisions I had before were completely dissolved (again) like a piece of thawing ice. I called out loudly “How wondrous! How wondrous!”


Subversive Fashion

Dilahirkan di Bandung pada tanggal 14 Oktober 1968, Tiarma Dame Ruth Sirait (biasa dipanggil Ama), dikenal sebagai desainer fashion yang aktif menggelar pameran di berbagai tempat, dari mulai ruang publik, sampai pada tempat-tempat khusus seperti kafe, night club, dan galeri seni rupa. Seiring dengan perkembangan karirnya, selain mengikuti berbagai acara peragaan busana dan pameran-pameran seni rupa, ia juga menempuh jalur pendidikan formal di berbagai institusi pendidikan seperti Bandung Design Education Center (1987), Studio Desain Tekstil – FSRD ITB (1988-1994), dan Fashion Design Studio di Royal Melbourne Institute of Technology (1996).

Tiarma selama ini dikenal juga sebagai desainer fashion yang eksentrik. Terbiasa memadukan berbagai elemen fashion yang saling bertubrukan, pada karyanya kita dapat menemukan nuansa parodi dan ironi, yang terkadang juga dibalut dengan eksploitasi akan aroma sensualitas yang dibarengi dengan selera humor yang segar. Mungkin ini juga yang membedakan Tiarma dengan desainer fashion yang ada selama ini. Melalui karya-karyanya, kita dapat melihat bagaimana karya fashion dapat juga menjadi karya personal yang menggigit dan memiliki kekuatan untuk menjadi subversif.

Dalam pameran ini, Tiarma kembali akan menggelar koleksinya dengan melakukan kerja kolaburasi dengan beberapa seniman dan fotografer. Karyanya dimunculkan melalui event pameran seni rupa yang menampilkan kembali koleksi kostum rancangannya, dilengkapi dengan berbagai materi dokumentasi yang dikumpulkan dari acara pesta kostum yang telah dilangsungkan sebelumnya. Selain koleksi rancangan Tiarma, juga akan dipamerkan karya fotografi dan video yang mendokumentasikan peristiwa pesta kostum tersebut, yang melibatkan publik secara terbuka.

Materi pameran: kostum, fotografi, video

Sebuah acara yang diberi tajuk “SENI: Singapore 2004, Art & The Contemporary”, digelar di Kota Singapura sejak tanggal 1 Oktober yang lalu sampai dengan 28 November 2004 yang akan datang. Selama hampir 2 bulan penuh publik di kota ini disuguhi dengan berbagai pameran seni rupa, workshop, simposium, dan beberapa proyek seni ruang publik yang digelar menyebar di beberapa tempat. Acara ini juga dianggap ikut menandai berbagai pergeseran yang terjadi di dalam praktik seni rupa, terutama yang tengah berlaku di wilayah regional Asia Tenggara.

Saat ini, sebagaimana dijelaskan oleh Prof. Chua Beng Huat yang bertindak sebagai direktur artistik dari program ini, banyak seniman di Asia yang memilih untuk membuat karya-karya yang temporal dan bergantung pada dimensi ruang dan waktu yang spesifik. Menggantikan praktik ataupun kerja kreatif yang biasanya terfokus pada bentukan obyek estetik yang permanen, menuju kerja individu ataupun kolektif yang lebih menekankan aspek kesementaraan (ephemeral) dan aksi kritik terhadap berbagai hal yang berlaku dalam kehidupan sehari-hari. Termasuk praktik seni rupa yang saat ini dianggap sudah terlampau mapan. Melalui berbagai macam medium, baik itu medium yang dinilai konvensional (seni lukis dan seni patung), sampai pada medium yang dinilai lebih baru – yang banyak menggunakan instrumen elektronik dan digital, seperti misalnya video, komputer, dan internet.

Sebagai pembuka, pada tanggal 1 sampai 3 Oktober 2004 yang lalu digelar sebuah acara yang bernama Insomnia48. Bertempat di gedung Old Parliament House (The Art House) yang terletak di pusat Kota Singapura, acara yang berdurasi 48 jam ini diisi dengan berbagai peristiwa seni, dari mulai performance, clubbing, pertunjukan musik, teater, happening, pameran video, instalasi, drawing, workshop, dan berbagai interaksi sosial yang dipandu oleh Ong Keng Sen dari kelompok Theatreworks, yang bertindak sebagai kurator dari program ini. Melengkapi keseluruhan acara, selain diadakan sejumlah diskusi dengan para seniman, juga dilangsungkan sebuah acara yang bernama “Sleepless in Singapore” yang ditangani langsung oleh Ong Keng Sen yang berkolaburasi dengan About TV, sebuah kelompok independen yang berdomisili di Kota Bangkok. Kelompok yang biasa menyiarkan berbagai program seni melalui internet ini, menyiarkan rangkaian reportase dan wawancara para seniman peserta Insomnia48 langsung secara online melalui fasilitas koneksi broadband.

Dalam acara ini juga diundang sejumlah seniman, baik secara individu maupun kelompok, yang berasal dari beberapa kota di wilayah Asia Tenggara. Kontingen dari Thailand diwakili oleh Joei Apichatpong dan Sakarin Krue-on (Bangkok), serta Araya Rasdjarmrearnsook dan kelompok Sok Sak (Chiang Mai). Sementara itu, dari Indonesia diwakili oleh para seniman yang juga berasal dari beberapa kota semisal Agung Kurniawan, Jompet, Venza and The House of Natural Fiber, dan Teater Garasi (Yogyakarta); kelompok Biosampler dan Ripple Magazine (Bandung); serta ruangrupa (Jakarta). Bertindak sebagai tuan rumah, dari Singapura ditampilkan beberapa karya dari Lim Kok Boon, Su-En Wong, Kelompok Tsunamii.net dan Kill Your TeleVision (KYTV). Selain itu juga diadakan workshop arsitektur yang dipandu oleh Hans Brouwer, Richard Ho, Maria Warner Wong, dan Yip Yuen Yong, yang melakukan eksplorasi ruang 3 dimensi dengan melibatkan publik secara terbuka.

Selama 3 hari 2 malam, secara simultan para seniman ini berinteraksi langsung dengan para pengunjung melalui karya-karya mereka. Simak misalnya karya Jompet yang berjudul 1hr 2b oth3r yang dikerjakan selama kurun waktu 2003-2004. Melalui karya yang sempat dipamerkan di beberapa tempat ini, Jompet menawarkan sensasi komunikasi interaktif melalui permainan simulasi labirin yang melibatkan 2 orang partisipan yang mengenakan tutup kepala, yang dilengkapi dengan piranti kamera elektronik buatannya. Kelompok Sok Sak menawarkan proyek Zog Zag Village yang merubah pelataran gedung Old Parliament House menjadi area perkampungan yang diisi dengan berbagai aktifitas seperti memasak, makan, ngobrol, menonton peragaan busana dan pertunjukan musik yang diisi oleh band lokal dari Singapura. Sementara itu – melalui proyek Pop Station – kelompok KYTV mengajak publik untuk membuat sendiri video klip mereka dengan terlibat langsung dalam proses produksi, yang memungkinkan setiap orang untuk menjadi “bintang” videoklip secara instan.

Dalam acara ini, Teater Garasi melakukan serangkaian pertunjukan dengan judul “The Death of Waktu Batu”, yang mencoba merespon ruangan interior gedung dengan melibatkan berbagai kombinasi dari gestur tubuh, beberapa properti pertunjukan, soundscape, tata lampu dan proyeksi video. Selanjutnya, dalam sebuah ruangan yang konon pernah digunakan oleh bekas PM Singapura Lee Kuan Yew, kelompok Tsunamii.net menyelenggarakan workshop game komputer yang dikuti oleh kurang lebih 15 orang partisipan. Di ruangan yang sama, dipamerkan sebuah lukisan terbaru karya Lim Kok Bok yang berjudul “Potrait of a Prime Minister, no. 1”, yang menampilkan sosok bekas perdana menteri Lee Kuan Yew ketika masih muda dan trendy. Pada ruangan yang lain, kita dapat menikmati karya dari Araya Rasdjarmrearnsook yang berjudul “Reading to Corpses” (instalasi video). Dalam karya ini ia menampilkan 3 buah proyeksi video dari beberapa tubuh orang mati, yang tergeletak di kamar mayat. Dalam video tersebut, sesekali Araya muncul dan membacakan puisi untuk mereka dengan suara yang lembut dan perlahan. Karyanya berhasil merubah suasana ruang yang semula dingin dan angkuh, menjadi ruangan yang senyap dan cenderung puitik.

Bertolak belakang dengan Araya, selama tiga hari berturut-turut kelompok Biosampler menghentak Insomnia48 melalui proyeksi video dan imaji abstrak yang dihasilkan oleh over head projector, yang tampil bersautan dengan bermacam sampling suara yang dihasilkan oleh para DJ, musisi dan seniman suara yang berasal dari Kota Bandung. Melalui proyek no_placia (dipinjam dari novel Thomas Moore yang berjudul Utopia), kelompok ini tampil berkolaborasi dengan Hendy Hertiasa (Party Maker, Inc.), serta Krisgath dan Ademus dari kelompok EAT yang juga berasal dari Bandung. Di hari terakhir, Biosampler berkolaburasi dengan Teater Garasi, menghadirkan pertunjukan spontan yang berhasil mencuri perhatian sebagian besar pengunjung yang hadir pada saat itu.

Keberadaan acara Insomnia48 dalam acara “SENI: Singapore 2004, Art & The Contemporary”, mendapatkan perhatian secara khusus mengingat acara ini berhasil mengintervensi struktur sosial Kota Singapura yang selama ini dikenal serba formal dan kaku. Konon hal ini sejalan dengan kebijakan publik pemerintah Kota Singapura, yang ingin menjadikan citra kota ini menjadi lebih santai dan fleksibel. Keberagaman praktik estetik yang ditawarkan oleh para seniman peserta acara ini tampaknya untuk sementara berhasil mencairkan iklim Kota Singapura, yang selama ini melulu didominasi oleh berbagai aktifitas ekonomi, yang cenderung menggiring warga kota menjadi sosok yang pragmatis dan kurang manusiawi. Di sisi lain, tampaknya acara ini juga berupaya menepis tudingan akan hegemoni praktik seni rupa kontemporer yang cenderung linier dan homogen. Dalam Insomnia48, beragam kecenderungan artistik yang dimiliki oleh masing-masing seniman saling berbaur, bernegosiasi dan berinteraksi secara kreatif sehingga mampu menghasilkan kombinasi ekspresi artistik yang segar dan baru.

Selain acara Insomnia48, masih dalam rangkaian perhelatan “SENI: Singapore 2004, Art & The Contemporary”, juga diadakan berbagai kegiatan di beberapa tempat. Diantaranya adalah pameran yang bertajuk “HomeFronts” yang diselenggarakan di Singapore Art Museum (1 Okt – 28 Nov 2004). Pameran ini menampilkan karya dari berbagai kelompok seni yang berasal dari Asia Tenggara semisal The Artist Village (Singapura), Spacekraft (Malaysia), Big Sky Mind (Philipina), Project 304 (Thailand), Taring Padi (Indonesia), dsb. Kemunculan kelompok-kelompok ini dianggap sebagai bagian dari respon terhadap berbagai ketegangan sosial yang disebabkan oleh tingginya tingkat urbanisasi dan pengaruh kapitalisme global, yang saat ini dianggap dominan kehadirannya di Asia Tenggara. Selain itu, di tempat yang sama juga diselenggarakan sebuah pameran video art yang berjudul “Moving Pictures” (1 Okt – 28 Nov 2004). Dalam pameran ini ditampilkan beberapa karya video dari Arahmaiani, Heman Chong, Feng Mengbo, Krisna Murti, Valay Shende, dll.

Berbagai acara pameran, workshop, proyek seni, dan pertunjukan dalam acara ini juga dilengkapi dengan sebuah simposium yang membahas berbagai persoalan seni dengan tema besar “Art and the Contemporary”, yang akan diisi oleh para pembicara yang berasal dari beragam latar belakang disiplin ilmu. Bertempat di Singapore Art Museum, acara yang akan berlangsung sejak tanggal 20 – 21 November 2004 ini akan dibuka oleh Prof. Chua Beng Huat dan menampilkan pembicara antara lain Assoc. Prof. Rajeev Patke (Singapura), Chaitanya Sambrani (India), Jim Supangkat (Indonesia), Wong Hoy Cheong (Kuala Lumpur/London) dan Jose Tence Ruiz (Philipina). Melalui acara SENI: Singapore 2004, Art & The Contemporary, kita bisa saja menduga-duga bahwa saat ini tampaknya Singapura tengah berusaha untuk mengambil posisi terdepan dalam perkembangan seni rupa di wilayah regional Asia Tenggara. Dengan bekal kekuatan ekonomi yang cenderung stabil, ambisi semacam ini tentu saja bisa kita anggap wajar. Sejak lama kita sudah tahu bahwa di era modern, perkembangan seni memang selalu terkait dengan masalah ekonomi.

**penulis adalah seniman, bekerja untuk Bandung Center for New Media Arts.

This project is a series of research on studies about cities. The city is observed as a structure similar to human anatomy, which is a complex construction of super-structures. Particularly on the case of Bandung City, Indonesia, on daily basis people are confronted with layered, fragmented, fully distorted spaces, almost organic like a living amoeba. City spaces, not merely building blocks but also crowded noises and activities, had forced us to apply a strategic improvisation as a method of survival. Therefore various studies of cases on city spaces is quite significant, particularly when we are confined in city spaces that grow in enormous speed while our adaptation abilities are limited. The tension creates various conflicts in the personal and collective level.


36_Frames #3

36_ Frames Project is a public participant project. Each individual participant is given a roll of color or monochrome film consisted of 36 frames and allowed to shoot any objects in the city that is considered significant. Using photography as a medium, we should be able to capture the city from a personal point of view. The result then printed into a specific size, displayed in a sequential order as 2-Dimensional modules. The final presentation of this project is a collective display of the modules. This collective presentation of the city is a tool to measure and share different personal experiences of the participants when they’re confronted with city spaces.

The first 36_Frames Project was made in Bandung on February 2002, inviting public to shoot 36 frames of picture with The Self as the theme. In the next project the plan is aiming for students with specific field of studies (Architecture, Design, Film, Art, Philosophy) to shoot 36 frame pictures of Helsinki. As a preparation for this project, Art students in Bandung will be asked to take 36 pictures of Bandung. The final presentation will display a conjuncture of images of the cities, Bandung and Helsinki.

Luncheon on The Grass: Conversation Project #2

City development and the people living in it are interrelated. Project Luncheon on The Grass: Conversation Project #1 was being held in Babakan Siliwangi City Park, Bandung, Indonesia, inviting four random participants to lunch together in open space while conversing on Bandung in personal context and their relation in social spaces. All of the session was recorded in audio, video and still images.

The extension of this project will be held in Helsinki City Park, where a group of people, anonymous to each other, will be invited to participate in doing a similar activity held before in Bandung. It is planed that a local radio station, recording and broadcasting the conversation, will relay the project. As the project held before, all of the session will be recorded.

The final presentation of this project will be the simultaneous display of both of the recorded conversation session in audio, slides and video.

Façade Study #2

The façade study was made as a scanning project to study super structure, the many micro structure within, and the relations between them. On this occasion, Kevin Lynch’s thesis “The Image of The City” was used as a basic paradigm on executing this study. The thesis divides city structures to a series of elements: Paths-Edges-District-Nodes-Landmarks. On this project, three video cameras directed to three different angles will simultaneously record a façade view following many paths in city spaces. The façade study is the heart of the City Surgery project.

Team Profile

Gustaff H. Iskandar (b. 1974) graduated in 1999 from Fine Arts Department, Bandung Institute of Technology. Starting from 1999, Gustaff entered art management scene, wrote, participated in some visual art exhibitions, organized publishing of Trolley Magazine for some years. In the end of 2001, along with R.E. Hartanto and T. Reza Ismail founded Bandung Center for New Media Arts. Having partnership with his wife, Reina Wulansari, and other colleagues, Gustaff is working on his art, working for the organization, write and speak on discussions and symposiums. Gustaff lives and works in Bandung. Selected exhibition consists: | 2004 | “Beyond Panopticon”, BEC, Bandung, ID. “Carte-Blanche #2: Sans Titre”. Center Culturel Français, Jakarta, ID. | “36 Frames”, Common Room, Bandung. | 2003 | I’ll be Your Mirror, Center Culturel Français, Jakarta, ID. “Interupsi! Modus & Media”, GSPI, Bandung, ID. | 2002 | “After the (f)ACT”, Selasar Sunaryo Art Space, Bandung, ID. “A World is Collage is A World is Collage”, Soemardja Gallery, Bandung, ID. “Signes”, workshop & exhibition, Soemardja Gallery, Bandung, ID. “The Rhizome Project”, The British Council Library, Jakarta, ID. “Multiplicity”, Web Art, www.translingual.org. | 2000 | Conversation in the Field, Erasmus Huis, Jakarta, ID.

Pumpung Wratmoko (b. 1974) graduated in 1998 from Design Department, Bandung Institute of Technology. As soon as graduated, Pumpung worked in media-related commercial projects including: (1995 – 1996) Art Director, Studio D-23, Bandung, (1997 – 1998) Art Director, Cabe Rawit Advertising, Jakarta. (1998 – present) Creative, Cerahati Artworks, Bandung, producing musical video-clip for local underground band. To date, more than 30 clips have been released.

R.E. Hartanto (b. 1973) graduated in 1998 from Fine Arts Department, Bandung Institute of Technology. 2001 – 2002 participated in Rijksakademie van Beeldende Kunsten. In the end of 2001, along with Gustaff H. Iskandar and T. Reza Ismail founded Bandung Center for New Media Arts and working for the organization until today. Project & residency includes: | 2003 | ARCUS Project, Moriya, Ibaraki, Japan. | OK Video, Jakarta Video Art Festival, Ruangrupa, Jakarta, ID. Renga Project, National Gallery, Kuala Lumpur, Malaysia. Luncheon on The Grass: Conversation Project #1, Bandung Center for New Media Arts, Bandung, ID. | 2002 | BESSENGUE City, Douala, Cameroon. Signes, Soemardja Gallery, Bandung, ID. Rhizome Project, The British Council, Jakarta, ID. | 2001 | East – West – North – South, Skoki, Poland. | 2000 | The International Masterclass for New Media Artists & Curators, Australian Network for Art & Technology, Brisbane, Australia. | 1998 – 1999 | Bandung Institute of Technology & Curtin University Online Art Exchange, Bandung, ID – Perth, Australia.

Wahyu Sulasmoro (b. 1969) graduated in 1996 from Design Department, Bandung Institute of Technology. Starting from 1987 participating in DKSB (Bandung Art Creation Depot), a group led by musician Prof. Dr. Harry Roesli. Involved in various contemporary music performances in Indonesia and collaborated with several group of theatre. Along with Mandiri Group of Theatre, Sulasmoro performed in Kyoto (“War”, Kyoto Art Institute, 2003), Hamburg (“The Coffin is Too Big for The Hole”, 2002), Singapore (“The Coffin is Too Big for The Hole”, 2001), Tokyo (“The Coffin is Too Big for The Hole”, Asia Meets Asia Art Festival, 2000). Starting from 2001 to present, along with Pumpung, Xonad, Punjung, Niang, Gustaff, developed Biosampler, a multimedia performance group which performed in public spaces (tunnel, library, warehouse, hotel lobby, beach, etc.), collaborated with local DJs and groups of theatre. Biosampler’s realized projects consist: “After the (F)act”, in collaboration with Carolyn Black (visiting artist from Bristol, UK), Bandung Center for New Media Arts, Ruangrupa, Selasar Sunaryo Art Space, 2002. “God is a DJ”, theatre performance, director: Wawan Sofwan, Fabriek Gallery, Bandung. “Tribute to Nothingness”, multimedia performance, connection tunnel, ITB campus, Bandung, 2001. “Rhizome”, multimedia performance, library room, The British Council Jakarta. Starting from 2003 to present joined Cerahati, a production house working on musical video-clip for local underground band. To date, more than 30 clips have been released.