Bandung first and second discussion review
Tuesday, 11 and 18 October 2005
This is the first time we had a meeting place with all (Bandung alternative spaces) whose involve in this project, attending with Gustaff (Common Room), Chrisgatha (Roomno1), Akbar (IF), Erik Pauhrizi (Devil Chips), Yusuf Ismail (Devil Chips)and Sancok (Devil Chips).
In the middle of Gustaff kitchen house (Common Room), underway to make an additional artistic strategy practise, the artistic customary adopted were being investigate. Avoid that, previously Gustaff have a chat and show his displace text in his past youth local magazine ‘Trolley’, and try to put side by side with future project.
Mentally mapping are accepted to adopt into the project, for the duration of two hour discussions, the project assemble in attendance our new artistic era. Offering new refresh point view, in addition anti aesthetic complicate, that non-artistic it’s an artistic possessions or an artistic it’s an artistic possessions. Anti aesthetic started in early 20th- century as an art movement that the rebellion against easel painting and conventional art launched by the Dada movement during World War I, The term is meant to indicate the movement’s rejection of conventional artistic practices and bourgeois tastes.
Opposed to conventional art, we made in medium of video as the new media art, which is, represent of our age. The project is made to become platform attempt to respond individual close space memories. From Dutch rules to now, Bandung always be a magnet for people to come in and make something close with, the city is solitary urban in Indonesia whose increase very fast, offering life style, fashion, music, culture, colonial architectural, market, education and ect. Collage and the research will be the method to do with the local resident participants as their memory life.
The collage we investigate from dada movement , as a part of sign of the city and other so-called found objects and materials, which are collect and combine to make new traditions. The addition such elements surprised viewers who expected sign to produce an art of the real city, rather than contain objects from that city. Composed of materials from the everyday environment, collage was life itself as their life.
Erik M. Pauhrizi
FOOT NOTE:
Displaced is a young artist collaboration photography project, released for the first time in 2005, in Bandung, Indonesia. Named Displaced Spaces for landscape project in Tangkuban Perahu Mountain and continuous in the end of this year, by young artists which having the same interest focus to this local project tries to grow up into regional.
Dada, early 20th-century art movement, whose members sought to ridicule the culture of their time through deliberately absurd performances, poetry, and visual art. Dadaists embraced the extraordinary, the irrational, and the contradictory largely in reaction to the unprecedented and incomprehensible brutality of World War I (1914-1918). In 1913 French artist Marcel Duchamp made the first of his readymade, in which he elevated everyday objects, such as a bicycle wheel or a bottle rack, to the status of sculpture simply by exhibiting them in a gallery and pronouncing them art. Duchamp and French artist Francis Picabia took up temporary residence in New York City in 1915, where they created playful paintings, drawings, and sculptures that depicted figures in the form of mysterious machinery—a jab at new technology.
In any case, the name dada, French for “rocking horse”, won general support for its ambiguity and evident inanity. In a manifesto of 1918, Tzara proclaimed, “DADA MEANS NOTHING.”
By the end of 1922 the dada movement had begun to fall apart. Quarrels developed between some members, and others seemed to tire of maintaining a stance of outrage against society. In Paris the dadaists were joined by a group of writers, including Frenchmen André Breton, Louis Aragon, Paul Éluard, and Philippe Soupault, who transformed dadaist interests in irrationality and chance into a new movement known as surrealism. Dada's influence was also felt in a number of later movements. They include a group of 1960s performance artists known as Fluxus; the pop art movement, which incorporated images from popular culture; and the conceptual art movement, which viewed ideas in themselves as art.
