A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Roots. Indonesian Contemporary Art runs at the Frankfurter Kunstverein until 10 January 2016. The invited artists belong to a ‘Post-Reformation‘ generation in Indonesia that emerged in 1998, roughly 30 years after Suharto’s autocracy. Characterised by a newfound freedom of expression and experimental liberties, contemporary art from this era is rooted in an “awareness of Indonesian culture and range[s] between the poles of tradition and participation in modern life.”
Co-curated by Curator at the National Gallery of Indonesia Asikin Hasan, Director of the Frankfurter Kunstverein Franziska Nori and Rizki A. Zaelani, also from the National Gallery of Indonesia, Roots coincides with Indonesia’s appearance as Guest of Honour at the Frankfurt Book Fair 2015. For the exhibition, three young artists and one collective created brand-new and mostly site-specific works that shed light on tradition, history, politics and contemporary culture.
Play, in the sense of ‘fresh, intriguing and humorous’ pulsates through the body of Tromarama’s practice, which combines video art with new music and installation. Initiating as a collective in 2006 in Bandung, Indonesia, Febie Babyrose, Ruddy Hatumena and Herbert Hans, have been developing inventive responses to contemporary urban culture. Each work, rather than existing in viewership isolation, is woven into the larger cultural fabric of the city of Bandung and addresses in interactive reflection the cornerstones of Indonesia’s political and cultural environment.
The trio met whilst studying at the Institute Technology of Bandung, which since the 90s and 2000s has been active in the support of video art and the city’s creative currents. Students in respectively graphic design, advertising and printmaking, the triumvirate came together for the “traumatic” creation of ‘Serigala Militia’ (2006) – a stop motion animation film (4 min 22 sec) made of hundreds of woodcut plywood boards, flashing in speeding sequence to the beats of Seringai, an Indonesian hard rock band. Acting as a music video but presented simultaneously as an installation, this meeting of minds framed the collective’s energetic and intricate, yet playful and pulsating practice.
Widely playing with stop motion animation in works such as ‘Bdg Art Now’ (2009), ‘Watt?!’ (2010), ‘Pilgrimage’ (2011) and ‘The Lost One’ (2013) it was ‘*Ting’ back in 2008 that marked the trio’s first step in this practice. A video that follows the travelling adventures of a collection of porcelain tableware, it presents in rhythmic formation and ballet-esque movements, the elements’ aligned tittering to the tones developed by Bagus Pandega. A touching animate play on human-like formations, the work parallels our individual yet collective journeys through the playful use of everyday domestic objects, which in turn are active players in the rituals of our everyday life.
Tromarama’s body of work extends beyond stop motion animation though, and even video art. ‘Borderless’ (2010), for example, comprises a video made of embroidery on canvas, whilst ‘Tugu Lentera Listrik’ (2013) is composed of a single channel video and digital print on sticker. These works still play with the commonplace though and the domestic, from a craft-like past time to the creation of an everyday domestic interior that in one small screen portion comes to life. ‘Private Riots’ (2014) marks, however, a political leaning in its playful pop-like extractions of key images from protest banners; time, marching, speeches are represented by centered images on boards that as an installation tower at an imposing height, standing in tall yet approachable opposition. Alongside, an interactive post-it board invites passers-by to mark and share their own frustrations or commentary.
At the heart of Tromarama’s practice is the creation of an inclusive narrative through the use of form and colour, objects and figures, sounds and rhythms. Each work literally animates the ordinary and weaves its existence into a tale of tribulations fuelled by consequence. As such, their work infuses the ordinary with novel means of contemplation in the context of urban life, developments and political reverberations.
Tromarama are widely considered one of Indonesia’s most exciting rising talents and have been widely exhibited around the world. They’ve held solo exhibitions at the Mori Art Museum (Japan) and have upcoming solo shows at the Stedelijk Museum (Amsterdam) and the National Gallery of Victoria (Melbourne). Group exhibitions include the Samstag Museum of Art (Adelaide), APT 7 QAGOMA (Brisbane), Singapore Art Museum (Singapore).
 Alia Swastika, ‘When Playing Is Not Only a Game’, (2011)
 Enin Supriyanto, ‘How to Turn Trauma into Video Art: A Brief History of Tromarama’, for “MAM Project 012: TROMARAMA” catalogue, published by Mori Art Museum, (August 1 2010)
Indonesian contemporary art has enjoyed the attention of the international arts community in recent years. By tapping into the country’s distinct mix of ethnicities, religions, cultural influences, and languages that make for a rich and layered sense of national identity, Indonesian artists are increasingly communicating their unique...
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.