The exhibition of Yudha Kusuma Putera “Fehung” aspires to involve the visitors in a creative process of spatial exploration (vaulting and reference point: Mes56 Collective/ Art space/ Gallery). This process gets unveiled via various interdisciplinary experiments. Experiments as paradigm – Paradeigma in Plato’s Dialectics- which sometimes acts from sensible things to ideas whereas sometimes acts from ideas to the things.
Engagement? This exhibition aspires to set a dialogue between photographic image and practice, objects and narratives, shadow and light, refraction and reflection, sensible and materialistic, existence and absence. The creative process is given by installations and their documentation, by drawings as memorial traces and notes, by architectural forms, performative elements, optics and open-closed systems of /for photographic view and review. Their interrelation projects fields of engagement which have an agonistic, antagonistic, collaborative and/or competitive character which composes sets of concepts, narratives, practices, patterns and models that constitute multiple ways of viewing and sharing “realities”.
The artist gives the audience time and various stages to contemplate the objects and their displacement and relocation. He collects and reuses objects which shape the “everyday life activities” (production, construction, re-building, maintenance, renewal, exhibitions, presentations) of the art space where he lives, works and creates (Mes56 Collective) and he composes installations and narratives.
Objet trouve (found object)? Real time exhibited perspectives?
Everyday life feels like a multilayered narrative which hosts the anxiety of display: size, meter, proportions, analogies… The documentation (displaced photograph) of the artist’s first step of creation functions as a vaulting point and facilitates the viewer to be involved in a creative process and directly pass and focus on the second step, the exhibited installation which hosts documented memories, acts and actions, gestures and habitswhich are taking place on and around the table of human touch and communication. What if the perspectives of vision get upside down, reverse the table, abolish its function as communicational canal and redefine it as an object of everyday use? What if this object gets connected to multiple objects of everyday use and abuse? What if their structural merging/composition sets questions about staticity, balance, harmony, ataxia and asymmetry? The reversal itself signals the ending of the experimentation and communicates the completion and the birth of an exhibited artwork. What is the truth beyond its appearance?
Narrative Space?
Re-appropriating and inhabiting Natural perspectives: Mes56 Collective and The Wall of Faith
“Imagine that the light-shadow enters the gallery via the ventilated linearity. Imagine that a circular object gets stuckbetween the horizontal layers. Its eidolon appears to the gallery’s wall as a trace of a conscious, spatial intervention which comes to question form”. The Wall of Faith incarnates a strong statement: every material – element – object which enters Mes56 Gallery has automatically the right to be transformed into sheer subject, into stated and exhibited work of art.
Kicking the facial and bodily past of artistic stagnancy? The artist traces a “framed – free zone” and invites the visitors to interact and contribute to the ongoing creation of the zone’s form by actively stating their traces. The artist re-enacts to the visitors’ traces via his physical performance by questioning the symbiotic relationship between the physical body and the body of Mes56 gallery. He demands change, chances and sincere, innovative participation. He invites the visitors to imprinttheir Active comment!
Elek? The artist proposes an Installation as a linguistic parameter. The installation reflects the need for a study on behavioral enlightenment, critical epimorphosis and substantial participation! The artist makes a direct comment on the diplomatic social norms, on the touristic-like gallery visits and on the sheer indifference.Elek? State a position and state an opinion!
Elek? Demand or request?
It is up to you.
WHAT? “Repetition is not generality”. The artist introduces a range of thinking by re-appropriating the art space and by persistently questioning and re-question it: What? Gilles Deleuze in Repetition and Difference writes:“ In every respect, Repetition is transgression. It puts law into question, it denounces its nominal or general character in favor of a more profound and more artistic reality”.
OUTKICK THE COVERAGE:
Questioning the relationship between the artist and the art space (Mes56 Collective), the spatiotemporal physiognomy of their ongoing, harmonic and conflictive merging; a dynamic one which demands participation and sheer engagement. This relationship gestates power, systems, organization, subsystems, independent and interacting elements that have to function together. How could we define the quality and optimization of their performance and how could we translate their over and under performative tendency? Do we need to control them? Do we actually need a defined, balanced, symmetrical meeting point, a smooth – right side and the same direction/orientation in order to archive optimization in the context of artistic -cultural, creative development and innovation? Do we actually need to play safe?
Writer : Penny Despoina Demertzi
Bentuk Melawan Bentuk #1 -#3
