I started worth a few days nongkrong At Goodschool, I arrived quietly in the middle of the morning to sit under the bread trees with anyone who was ready to chat. When the bands bought the property, it had an indoor soccer field, so Rangarupa kept the high roof intact and built two cabins on it – some with dry walls and glass windows, some outside the shipping containers. Across a central, tree-lined passageway, there are more transport containers: two on top of each other, in a clear row, like a child’s strict arrangement of logos. Late in the afternoon, when Jakarta received its usual rain, Goodschool snorted with activity. Zoom classes A tattoo parlor rang a radio station rururadio. Archive in the compact library. Graphic Design Lab is a publishing house and shop that has Indonesian translations of world literature. Artists in their container transport studios. And everywhere, the feeling of slow fermentation – the feeling that when people float in each other’s circuits, they are creatively galvanized and always working towards new art and new ideas. As Andan said, it is not necessarily big projects, but small, rich, high-frequency narratives.
Fred Raccoon, an architect who joined ruangrupa in 1920, says to express some of these abstractions, consider ruangrupa in two exhibitions: the Asia-Pacific Biennale in Brisbane in 2012 and the Sao Paulo Biennial in 2014. For Brisbane, Rangrupa An Indonesian rock band invented the underground in the 1970s, created memorabilia, and persuaded Brisbane rockers to testify to the band’s influence. It was wild and fascinating, and it made Ruangrupa especially happy that the trick leaked out of the museum and into real life. “Years later, someone showed us a blog post talking about Koda,” Darmwan said. I think they did not know it was really fictional, because it was a very serious writing and it talked about how the Indonesian punk scene affected the Brisbane punk scene. Raccoon told me, but it was all still “closer to what people understand as art projects.” Sao Paulo, on the other hand, “was the first time we took the stage.” After that, he said, invitations to art festivals multiplied, “boom-boom-boom-boom” and the export of psychedelics – its collective rehearsals – became a convention.
In Sao Paulo, ruangrupa had very little planning and achieved almost nothing. Instead, Raccoon said, they repeated the presence and methods of ruangrupa on the site. Before the biennial, they flew to Brazil twice to meet with other groups: graphic designers, architects and activists. “Tell us what’s going on in your city,” Ruangrupa asked inquiringly. اوجکس And about a public square that an architectural complex was trying to preserve. “This was their way to a city that was similar in growth and history to Jakarta,” said Charles Ashe, curator of the biennial.
In their own space, on the ground floor of an Oscar Niemeyer building, they designed a small space. ruruhouse: Sofas for Nongkron, A point for رورورادیو ، Another talked to Jakarta and Sao Paulo for a gallery in this remote house. This gallery hosted works by artists from two cities. A Paulista food cart, which was used as a movie projector, was playing OK movies. Video archive and Sao Paulo Group. as a rururadio Rangurupa set up a tent for the puppy and invited people inside for karaoke. They sat cross-legged on the floor and sang Portuguese, English and Indonesian songs. Iche recalled that the drivers of Ojek Sao Paulo – not usually the kind of people who feel good at biennials – hung around the city. Roarhouse, Ride to visitors