GROUP EXHIBITION

Chandra Rosselinni works primarily with charcoal and pencil, using their experience as an intersex individual as the central theme of his practice. Born with the XXY 47 chromosomal condition and identified as intersex, Chandra has long understood himself as neither male nor female.

After much wandering between rejection and acceptance, he ultimately arrived at a place of acceptance. This ongoing negotiation of identity unfolds as a visual journey, in which images such as the bedroom as a safe refuge for the lost, a hermaphroditic papaya flower symbolising the artist himself, and the oppressive weight of isolation appear repeatedly, giving form to an inner narrative.

Dian Suci begins her work from the experiences of home, domestic life, and motherhood. Reflecting her life as a single mother, Dian’s art incisively reveals how patriarchy, authoritarianism, and capitalism have structurally controlled women’s bodies and spaces. Her canvases become stages where the placement of objects and bodies turns into a language of metaphor. The home is not merely a place of return, but a site where power operates; through lyrical storytelling, Dian portrays her own portrait as a woman within that space.

Henryette Louise engages with a wide range of materials including plaster, scrap metal, electronic components, paper, and charcoal, drawing inspiration from local folklore and communal beliefs. For Louise, folklore serves as a medium to reveal instinctive aspects of human nature—those that are often concealed and difficult to articulate. She expands the traditional intaglio printmaking technique, which transfers engraved images from metal plates, by using plaster instead of paper as the receiving surface. The porous nature of plaster absorbs ink while transforming overtime, turning the image into a living material rather than a fixed form.

Rizka Azizah Hayati expresses her upbringing within Banjar culture, shaped by the fusion of Dayak Malay traditions and Islam, through the technique of “rust dyeing.” This method, which transfers the rust formed through the corrosion of iron onto fabric, naturally parallels the way memory and heritage transform and settle across generations. For Rizka, her works offer new discoveries not only for the audience but also for herself. The pieces in this exhibition are connected to her 40-day pilgrimage (Hajj) with her parents, reflecting her journey in Mecca and Medina in Saudi Arabia and her efforts to resolve recurring intergenerational patterns.

Windi Apriani employs a ballpoint pen on canvas as her distinctive medium, layering reality and memory, the present and the past, within a single framework of perception. The intricately built lines, created through meticulous cross-hatching, transcend simple representation and guide viewers into the artist’s constructed ideal world of perception. Each line is a trace of thought and a stratified layer of memory that cuts across time.

The records of these five artists differ in form, language, and point of departure. Yet all of them are writing their own distinct histories at points where they diverge from previous generations. What are we recording now, and what remains left unexamined and uninterpreted? Minutes offers five living answers to these questions.