Bentuk dan aktivisme seni selalu kembali pada potensi yang
telah ada di masyarakat kampoong. Jenis penggalian dan format yang paling cocok tidak
hanya berupa kerja kreatif secara fisik, misalnya: mengecat tembok-tembok atau
rumah gubug mereka agar terlihat rapi dan nyaman dihuni. Tetapi, bisa pula
melalui kerja workshop, pelatihan, event festival lagu yang digemari publik
setempat dengan panggung performance art, program pemutaran film layar tancap,
dialog bersama secara interaktif tentang apa saja. Atau, pembuatan radio/ jejaring
sosial masyarakat inspiratif merespon kondisi riil yang mengemuka.
Art
Activism in Kampoong Jakarta
The forms of art activism depend on
what potentials there are in thecommunity of kampoongs . The most suitable methods
of exploration and formats of activities are not merely physical
creative works such as paintingwalls – mural works and
sheds to make them look neat and comfortable to live in. Other possible formats are workshops, trainings, song festivals, performance art staging, open air
film screening and interactive dialogues about anything. Setting up
a radio station or a social networking site to inspire people
will also be useful to respond to the emerging and real conditions in kampoong society.
dolls made from recycled product by kids on Atap Alis Community
Pada
dasarnya proyek seni ini menggunakan seni sebagai penggambaran tentang sebuah
pemukiman kumuh yang dalam keadaan
mengenaskan karena digerus oleh proses urbanisasi di daerah miskin terbesar di
Asia di distrik Dharavi’s 13th Compound di Mumbai, India.
Perupa dan
aktivitis urban dari AS, Alex White Mazzarella dan rekannya city
planner/photographer Casey Nolan dengan sepenuh hati berinteraksi bersama warga Dharavi. Mendokumentasikan
dan memanifestasikan pengalaman mereka sendiri, dalam melihat prespektif
kemanusiaan, identitas, energi serta budaya lokal lewat karya seni.
Mereka mencipta
lukisan mixed media dengan produk percampuran
serta energi warna lokal untuk mengeksplorasi transmisi tempat, fenomena
manusia, realitas eksistensial distrik Dharavi dan berbagai situasi ekstrem daerah
slum di Mumbai. Menyediakan ruang,
melihat secara mendalam dan memancing diskursus soal kemungkinan kemajuan,
komunitas, masyarakat dan pertumbuhan.
City planner dan filmmaker Casey Nolan
yang berasal dari Portland Oregon
merekam dan menyediakan narasi dengan
teknik foto jurnalisme.Artefacting Mumbai lebih dalam ingin berbagi bagaimana
perupa atau pekerja kreatif membawa harapan apa yang sesungguhnya bernilai dan penting bagi hidup manusia dan
komunitasnya, seperti: cara manusia berbagi dan peduli dengan sesama.
About Artefacting Mumbai
Basically this art project exercises art as an
illustration of a heartbreaking slum marginalized by urbanization process in
the biggest poor area in Asia, Dharavi’s 13th Compound district, in Mumbai,
India.
Artist-cum-urban activist from USA, Alex White Mazzarella and his partner,
city planner/photographer/filmmaker Casey Nolan, wholeheartedly interacted with
Dharavi locals. They documented and manifested their own experience in seeing
humanity, identity and local culture in perspective, via their works.
They created a mixed-media painting with combined products
and the energy of local colors to explore location transmission, human phenomenon,
existential reality in Dharavi district and various extreme situations in
Mumbai slums.
They provided a space, looked deeper and encouraged a discourse
about a possibility of advancement, community, society and growth.
Portland-based Nolan recorded and provided a narration with photojournalism
technique. “Artefacting Mumbai” aimed to share how artists and creative workers
bring hopes about what truly matters and what is valuable for humankind’s and
the community’s lives, such as: how people share and care about each other.
Pada tahun 2010 seorang jurnalis sekaligus fotografer Unang Ramdani menyajikan pada kita via foto-foto yang menceritakan kronika masyarakat yang tinggal di daerah kumuh di Jakarta. Foto - foto yang menyentuh, menggugah rasa kemanusiaan kita. Tentang orang-orang yang berjuang untuk mendapatkan air bersih. Unang membidikkan lensa kameranya di flat Rusunawa, Penjaringan, Jakarta Utara. Karya-karya ini dikemudian hari terseleksi oleh tim Kurator untuk berpartisipasi pada acara Jakarta Biennale #14 pada 2011. Bisa dilihat disini bahwa selang air dan mesin-mesin pompa yang menyedot air dari dalam tanah adalah sketsa saban hari warga yang tinggal disitu untuk mendapatkan air bersih. Unang menyebutnya sebagai " Berebut Air di Rusunawa". Pada pertengahan tahun 2012 karya fotografi tersebut ditafsirkan ulang oleh seorang koreografer tari Yola Yulfianti yang selanjutnya ia beri judul baru : Payau #2 Waterproof. Karya kolaborasinya dengan Unang ini dipentaskan di Pusat Kesenian Jakarta, Taman Ismail Marjuki, serta menjadi perfomans utama di ajang Indonesia Dance Festival ke-11. In 2010, a journalist cum photographer Unang Ramdani has presented to us via his photos that tell the chronicle of people living in slums in Jakarta who are struggling to get clean water. Unang have made these works in Rusunawa flats, Penjaringan, North Jakarta. These works were later selected by a team of curators to participate in the event of Jakarta Biennale 2011. It can be seen here that the water hoses and pump machines that have been sucking water from the soil is a picture of the everyday struggle from people who live there to get clean water In-mid 2012 the photographic work has been re-interpreted by a dance choreographer Yola Yulfianti which she gave the title: Payau # 2 Waterproof and the collaboration works staged in Jakarta Arts Center, Taman Ismail Marjuki as main peformance of the 11th Indonesia Dance Festival.
Unang's photo-installation work at theJakarta Biennale#14, 2011
For some residents of the Colombian city of Medellin, a trip to the city centre meant a long and dangerous trek through one of the city's most violent areas. Ascending 384 metres, a new escalator project has changed that.
(Al Jazeera's - Gerald Tan)
Navigating a mountainous city with a giant escalator
When a city is located in the heart of one of the world’s highest mountain ranges it be difficult to get from one place to another, especially on foot.
In Medellin, Colombia, much of the city lies in a valley in the Andes, but as you move toward the surrounding slums, housing moves up the steep slopes that surround the city center. That’s why the city has installed an urban escalator system to help residents in one of the poorest neighborhoods in the city navigate their long commute from the city center to their neighborhood. Transportation Nation has more:
The 12,000 residents of one hilly Medellin neighborhood used to climb the equivalent of 28 stories to get from the city center to their homes. But an arduous 30-minute walk has been transformed into a five-minute ride, with the installation of an urban escalator system.
“This escalator represents a celebration for all of us as a city,” said Mayor Salazar Jaramillo on Monday, when he officially opened the escalators to the public in the Comuna 13 neighborhood. “This should be a symbol of city transformation and peace for Comuna 13.”
There are six sections of the escalator, which cost $6.7 million. Money well spent according to the city’s mayor.
The mayor said innovations like the escalator are turning the Colombian city into a showcase for leading urban planning ideas, and added that officials from Rio de Janeiro had already contacted him about doing something similar in the hillside favelas there. [...]
“In these slums, we have to make an important change,” said Rafael Nanclares, Medellin’s secretary of transportation and transit, speaking on the phone to Transportation Nation. “We have to make opportunities for them.” Earlier this week, Nanclares tweeted a photo of a banner hung on the side of a building that read: “What pride! We live in the only neighborhood in the world with public escalators.”
The city is also working to improve mobility through bikeshare and bus-rapid transit. Though the escalators seem like a cheaper and more efficient way to navigate the steep hills. But you do have to wonder how reliable the escalators will be. Hey, you’d be suspicious too if you regularly rode DC Metro’s escalators. We’ll call it cautious optimism.
Jatiwangi art Factory (JaF) adalah sebuah organisasi nirlaba
yang fokus terhadap kajian kehidupan lokal pedesaan lewat kegiatan seni dan
budaya seperti; festival, pertunjukan, seni rupa, musik, video, keramik,
pameran, residensi seniman, diskusi bulanan, siaran radio dan pendidikan.
JaF didirikan pada 27 September 2005. Sejak tahun 2008 JaF
bekerjasama dengan Pemerintahan Desa Jatisura melakukan riset dan penelitian
dengan menggunakan keterlibatan kesenian kontemporer yang kolaboratif dan
saling menterhubungkan.
JaF mempunyai Program Festival Residensi, Festival Video
Residensi dan Festival Musik Keramik dua tahunan yang mengundang seniman dari
berbagai disiplin ilmu dan Negara untuk tinggal, berinteraksi, bekerjasama
dengan warga desa, merasakan kehidupan Masyarakat Jatiwangi, serta merumuskan
dan membuat sesuatu yang kemudian dipresentasikan dan dikabarkan kepada semua
orang.
About JaF
Jatiwangi art Factory (JaF) is a nonprofit organization that
focuses on discourses of local rural life through arts and cultural activities
such as festivals, performances, visual art, music, video, ceramics,
exhibitions, artist in residencies, monthly discussion, radio broadcast and
education.
JaF was founded on September 27, 2005. Since the year 2008
JaF in cooperation with the Jatisura Village Government do research using a
collaborative engagement of contemporary art that connecting each other.
JaF has a bi-annual Residency Festival, Video Residency
Festival and Ceramic Music Festival that invites artists from various disciplines
and countries to live, interact, cooperate with the villagers, to feel life in
Jatiwangi rural society, formulate and create something that presented to
everyone.
China's Ai Weiwei bemoans block on his "Gangnam" parody
BEIJING | Thu Oct 25, 2012 6:16pm EDT
(Reuters) - Dissident Chinese artist Ai Weiwei criticized the government on Thursday for removing from Chinese websites his parody of Korean pop sensation Psy's Gangnam Style video.
Ai, a world-renowned artist and China's most prominent dissident, and staff of his company performed Psy's famous horse dance in his Beijing studio and posted the video late on Wednesday to Chinese sites such as "Tudou", the equivalent of the blocked YouTube site.
Ai, 55, called the video "Caonima". "Caonima" means "grass mud horse" but the word, which sounds like a very crude insult, has also been taken on by Chinese Internet users, and by Ai himself, and featured in postings mocking the government's online controls.
"We only filmed for a bit over 10 minutes but we used a whole day to edit, and eventually put it online at midnight," Ai told Reuters.
"After we had uploaded it, a few hours later ... we found that a lot of people, tens of thousands, had already watched it. Now, in China, it has already been totally removed, deleted entirely, and you can't see it inChina," Ai said.
Ai said Psy's Gangnam Style song and dance was a grass-roots expression of individualism that should be allowed in his country.
"Overall, we feel that every person has the right to express themselves, and this right of expression is fundamentally linked to our happiness and even our existence," Ai said.
"When a society constantly demands that everyone should abandon this right, then the society becomes a society without creativity. It can never become a happy society."
Ai, whose 81-day detention last year sparked an international outcry, has regularly criticized the government for what he sees as its flouting of the rule of law and the rights of citizens.
Last month, a court upheld a $2.4 million tax evasion fine against him, ending a long legal battle with the authorities. He can be jailed if he does not pay.
(Reporting by Maxim Duncan; Editing by Elaine Lies and Robert Birsel)
Artist Vik Muniz takes the photo of Tiao Santos as Marat (left) for the print entitled "Marat/Sebastio - Pictures of Garbage" (right). Photo credit: Vik Muniz Studio The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.—Vik Muniz
Outside of Rio de Janeiro, Brazil, is a stretch of land known as Jardim Gramacho. Here, trash from the city—more than 7,000 tons every day—is piled in high mounds. Among this vast landfill—the largest in the world—live anestimated 20,000 people, half of which are involved directly in the local recycling industry.
At least 2,500 of these residents are catadores, garbage pickers who make their living sorting recyclables from the refuse, then selling them to local processors. Artist Vik Muniz traveled to Brazil to "change the lives of [thecatadores] with the same material they deal with every day." Artist Vik Muniz at Jardim Gramacho. Photo credit: Vik Muniz Studio
A native of Sao Paulo, Brazil, Muniz was accidentally shot in the leg as a young man. With the compensation he received for his injuries, Muniz moved to New York City, where he has worked as an artist ever since.
Muniz has used dirt, diamonds, sugar, string, chocolate syrup, and garbage to create images—which explore the multiple dimensions of the unlikely materials they consist of. In Jardim Gramacho, Muniz sought to capture the realities of life in the landfill but also to create "a mirror in which the catadores may see themselves."
Though the images are clearly grounded in the trash of the landfill, they are inspired by the people that struggle to make a life amongst it.
View down onto Irma's portrait on the floor. Photo credit: Vik Muniz Studio
The work is not only inspired by the catadores, it also seeks to help them. By selling the artwork at auction, Muniz managed to raise $300,000, all of which was given to the Association of Collectors of the Metropolitan Landfill of Jardim Gramacho (ACAMJG), an organization led by Tiao Santos that organizes and protects the collectors.
Indeed, the entire project—documented in the provocative film Waste Land—became intertwined with the dignity and despair of the catadores.
Originally intending to paint the collectors amidst the trash, Muniz quickly found that—in spite of unsanitary conditions, low pay, and economic uncertainty created by continuous efforts to close the landfill—people living and working in Jardim Gramacho were unwilling to give up their homes.
His work, he realized, could not objectify the catadores, but instead had to be a product of the place and people.
Jardim Gramacho, the world's largest garbage dump. Photo credit: Vik Muniz Studio
Of course, this transition was not an easy one.
Lucy Walker, director of Waste Land, explains that:
Questions poke through the fabric of the movie as things get messy...Vik and his wife start to argue on-camera about whether the project is hurting the catadores by taking them out of their environment and then, when it's over, expecting them to return
She continues by asking, "should documentary filmmakers interfere with their subjects' lives...how could they not?" Muniz's project and Walker's film, clearly, changed the lives of several catadores. The question she seems to be asking is whether or not this change was for the better.
Several years ago, local officials noticed large cracks forming in some of the retaining walls surrounding Jardim Gramacho—a sign that the landfill had exceeded its capacity and had become a threat to the neighborhoods and watersheds around it.
Since then, an effort, spearheaded by COMLURB—the municipal authority in charge of the site—has sought to close the landfill, which would force thecatadores to move on. For the catadores, change, it seems, was inevitable.
COMLURB Secretary Marilene Ramos has said that "the responsibility for Gramacho is on all of us who produce the garbage that is dumped there daily." In this case, the environmental responsibility is clear—it is the easily-hidden human responsibility that proves to be more problematic.
Ultimately, the work of Muniz, Walker, and ACAMJG hope to provide options for the people who find a livelihood in others' trash.
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