Nurrachmat "Mas Ito" Widyasena - Bale Project

A solo exhibition of Nurrachmat "Mas Ito" Widyasena

27.09.2019 - 27.10.2019Mon - Sun | 11.00 AM - 7.00 PM

Exhibition Foreword by Asmudjo J. IriantoPT BESOK JAYA // LUSA SEJAHTERA

JANICE ANYA LEE | Gallery Manager

Exhibition foreword by Asmudjo J. Irianto Supported by Bale Project

Can the future be a tangible matter that exists in parallel with the present? Or can the past experiences still be recorded in the form of matter for us to travel back to?

The existential curiosity in humans towards the concept of time has always been a long-standing subject. We come in contact with the concept and the possibilities it holds through a wide area of different backgrounds and methods, not only through science and physics but also through cultures, myths, media, and history. Although the core plausible idea of time travel has been first initiated by Einstein from his Special Relativity theory, the curiosity towards the concept of time goes way back to early humanity, such as the Greek mythology of Chronos and Kairos to the stories in Hindu’s epic, Mahabharata. Which makes us think, did these curiosities towards the concept of time started from basic human instincts towards our regret and fear? – a regret in the past we wish to change or the fear

towards what the future holds.

For Mas Ito, his interest has acutely been inspired from his childhood upbringing and also from theinfluence of his father - a national telecommunication expert -, Mas Ito grew up being exposed to various readings on technology and magazines on retrofuturism. This has provided unique

perspectives and insights into Mas Ito’s artistic process and method. During Mas Ito’s residency at Bluecoat in Liverpool, UK, he was inspired by being at Dr. Who’s originleading him to explore the idea of time travel, which has now been manifested further in NOSTALJIK KRITIK: OPERASI TAIMKET. This exhibition showcases a variety of Mas Ito’s applied approaches and topics around the idea and possibilities of time travel – from sci-fi, pop culture, to scientific theories. Despite these different approaches and topics, as Mas Ito puts it, the perspective he establishes hisworks are through the ground of Stupid Third World Asians. Where rather his ideas are manifested through a low-tech manner, appropriated by how Indonesians, despite our superfluous wealth in nature and resources, seem to still lack in our technological developments. Through this approach, Mas Ito’s work also shows how our development in technology is achieved through efforts of “stealing” from

other nations. This creates a rather satirical sense in Mas Ito’s narration. Going back to understanding the process behind this exhibition, where it has departed mainly from thefictional future technology company ‘founded’ by Mas Ito named PT. Besok Jaya, NOSTALJIK KRITIK : OPERASI TAIMKET showcases PT. Besok Jaya’s most ‘ground-breaking’ prototypes from the result of its

research and development.

Although, these ideas can seem impossible as of now, with Mas Ito’s perspective of Stupid Third WorldAsians and his satire approach, somehow an attribute of hopefulness can be felt. A worthwhile attitude to hold on to for the possibility of bringing about the spirit in the younger generation towards a desire

for our nation’s advancement in technology.

RUCI Art Space is honoured to present Nurrachmat “Mas Ito” Widyasena’s Solo Exhibition titledNOSTALJIK KRITIK: OPERASI TAIMKET.

Gallery Foreword

Dalam kehidupan modern, ilmu, teknologi dan seni kerap dianggap sebagai kategori yang terpisah. Jika ilmu dan teknologi dianggap masih memiliki hubungan yang dekat—secara sederhana teknologi adalah penerapan ilmu untuk kebutuhan praktis—tidak demikian dengan seni. Hal ini tidak lepas dari paradig-ma seni rupa modern yang menetapkan dirinya sebagai wilayah otonom. Dalam ranah tradisi ketiga komponen tersebut melebur menjadi kekayaan kebudayaan material, tidak terpisahkan. Ilmu pengeta-huan modern diawali oleh revolusi ilmu pengetahuan di Eropa, yang umumnya disepakati dimulai sekitar abad ke-16, ketika Copernicus menyatakan gagasan Heliocentris, bahwa pusat kosmos adalah matahari, bukan bumi. Kemudian Newton pada abad ke-17 menemukan hukum gravitasi, dan dianggap sebagai bapak fisika klasik. Perkembangan ilmu mendorong penerapannya di bidang teknologi, yang menghasilkan revolusi industri di Eropa dan Amerika pada abad ke-18. Perkembang ilmu dan teknologi

di Eropa juga disejajari oleh perkembangan seni rupa sejak era Renaisans.

Seni tinggi—yang menjadi titik awal menuju seni rupa modern—di era Renaisans sesungguhnya erat kaitannya dengan perkembangan ilmu pengetahuan. Pengetahuan perspektif dan anatomi misalnya menjadi bagian penting dari seni lukis. Demikian pula perkembangan pengetahuan mengenai optikal dan teori warna serta ditemukannya fotografi mempengaruhi kemunculan seni rupa modern. Kendati kemudian seni rupa modern menjadi wilayah otonom, namun semangatnya dapat dianalogikan seban-gun dengan ilmu dan teknologi, yaitu semangat utopis kemajuan masyarakat modern. Istilahavant-garde menunjukkan semangat tersebut. Upaya mencari esensi seni, jelas menunjukkan semangat kemajuan. Untuk maju, seni rupa modern mengambil jalan untuk menyudahi peran fungsionalnya, atau subservience pada bidang-bidang lain dalam masyarakat. Seni rupa modern menolak menjadi bagian praktek yang memiliki fungsi praktis—yaitu seni yang dikenal sebagai applied art, kemudian berkem-bang menjadi desain—dan representasional. Seni rupa modern yang otonom membangun dunianya sendiri yang dikenal sebagai art world—yang terus berlaku sampai saat ini. Setiap seniman modern bersaing mencari kesejatian seni rupa. Upaya seni rupa modern yang esoteris—melihat ke dalam dirinya—menjadikan seni modern terpencil dan sulit difahami oleh masyarakatnya ketika itu. Namun, perangkat dalam art world seperti museum, akademi seni, dan para pelaku di dalamnya, seperti seniman, sejawaran seni dan kritikus menjadi pihak yang memberikan legitimasi dan

mengkonstruksikan nilai karya-karya para seniman modern.

Seni rupa modern menjadi obsolete di tahun 50-an, setelah seni lukis abstract expressionism dianggap berhasil menemukan esensi seni lukis, yaitu “kedatarannya”, sebagaimana diuar-uarkan oleh “juru bicara” abstract-expressionism, maha kritikus Clement Greenberg. Berakhirnya paradigma seni rupa modern tahun 60-an memberi jalan bagi babak baru seni rupa kontemporer. Berbeda dengan seni rupa modern, seni rupa kontemporer berifat eksoteris, melihat “ke-luar”. Seni rupa kontemporer menye-diakan dirinya sebagai wilayah representasi kritis dari beragam persoalan umat manusia. Salah satu perkara yang kerap dipersoalkan oleh seni rupa kontemporer adalah kedudukan

ilmu dan teknologi dalam masyarakat modern.

1 James Sullivan, "Visions of Tomorrowland; How past concepts of the future are taking over pop culture,"The San Francisco Chronicle, January 3, 1999

Tidak dapat dipungkiri bahwa kemajuan ilmu dan teknologi disamping memberikan manfaat juga mendatangkan mudarat bagi manusia dan lingkungannya. Penguasaan teknologi juga berefek pada kekuatan ekonomi suatu bangsa. Hal ini, penguasaan teknologi dan kekuatan ekonomi terbukti menja-di parameter hierarki bangsa- bangsa di dunia, seperti negara maju, negara berkembang dan

negara miskin. Juga menjadi kekuatan dalam posisi tawar geopolitik global.

Karya-karya Nurrachmat Widyasena (Ito), sejak awal berbicara mengenai retro futurism khususnya Space Age, sebuah era percepatan teknologi luar angkasa yang bisa dikatakan paling advance dan tinggi biaya pengembangannya. Retro futurism sendiri, merupakan sebuah gaya yang menggabungkan gaya klasik masa lampau atau retro dengan teknologi–teknologi masa depan yang futuristik. Sebut saja film buatan tahun 1968 oleh Stanley Kubrick, 2001: A Space Odyssey dimana pendaratan di bulan merupakan sebuah hal yang rutin, konsep “meal in pill” dimana banyak peneliti pada masa-masa tersebut bermimpi akan makanan sintetis yang dapat dikonsumsi hanya dalam bentuk pil kapsul saja, atau ilustrasi-ilustrasi di masa depan bagaimana mobil terbang sudah merupakan bagian dari kehidupan sehari-hari kita. Retro futurism menunjukkan bahwa imajinasi manusia mengenai masa

depan tak banyak berubah, seperti diutarakan oleh 1James Sullivan,

Ketertarikan Ito dengan tema retro futurism bermula sejak di usia dini, melalui pengaruh ayahnya seorang pakar telekomunikasi. Sejak kecil Ito telah dikenalkan berbagai bacaan mengenai teknologi dan majalah- majalah bergambar bergenre retro futurism. Tak mengherankan sejak kecil Ito tertarik dengan science-fiction. Genre sci-fi dalam pop culture, seperti Star Wars, Star Trek, Space Odyssey dan film-film yang berkait dengan mesin waktu dan teknologi futuristik menjadi konsumsi utama Ito—dan kawan-kawan segenerasinya. Populernya sci-fi dalam kebudayaan pop secara global menunjukkan eratnya kedua hal tersebut. Bisa dikatakan sci-fi mendominasi kebudayaan pop di Barat

yang hasilnya (terutama film-film Holywood) disebar ke penjuru dunia.

Dalam beberapa kajian dijelaskan bahwa genre sci-fi menawarkan sikap escapism dari carut marut dunia. Genre ini juga memberikan jalan bagi kerinduan pada masa kecil, nostalgia pada masa lalu, masa-masa tanpa beban. Namun, Sci-fi juga menyediakan peluang representasi kritis pada situasi dan persoalan masa kini. Dalam hal ini sci-fi dapat tampil sebagai metafor, alegori bahkan parodi.

Dalam konteks yang terakhir ini kita dapat menempatkan posisi penting karya- karya Ito.

“Despite the tremendous technological leaps of the past several decades, in many ways our vision of the future remains just the same as it was 40 years ago. As we hurtle into 1999, a distinct nostalgia for the unfulfilled promise of the future — mostly the idea that we would one day be liberated from the mundane — lies at the core of much of

our popular culture....Some call it "retrofuturism."

Judul pameran ini Nostaljik Kritik: Operasi Taimket setidaknya menegaskan—secara satir—sebuah gerakan yang terencana dalam situasi yang “darurat” dan penting untuk dilaksanakan. Judul tersebut, kendati berkesan main-main, menyiratkan adanya refleksi kritik dari karya-karya yang dipamerkan.

Bagian utama dari karya-karya Ito adalah keberadaan perusahaan imajiner, yang dinamai PT Besok Jaya. Hal ini berangkat dari realita bahwa saat ini, perkembangan dan kemajuan teknologi diserahkan pada pihak swasta. Tentu saja hal ini berkait dengan produksi consumer technology. Selepas perang dingin, teknologi luar angkasa mengalami penyurutan, bahkan sejak tahun 2011, Nasa menyudahi program roket shuttle luar angkasanya. Di era perang dingin Amerika Serikat dan Uni Soviet berlom-ba-lomba mengembangkan teknologi luar angkasa. Selain sebagai propaganda dan parameter kedigdayaan teknologi, sesungguhnya teknologi luar angkasa sangat penting pada teknologi turunann-ya, seperti teknologi militer dalam berbagai kemungkinan aplikasinya, di antaranya teknologi persen-jataan dan telekomunikasi. Selain itu beberapa aplikasi turunannya juga sampai pada consumer technology, sebut saja kamera handphone, memory foam, dan formula susu bayi. Berakhirnyapengembangan teknologi luar angkasa, bagi Ito seperti pengingkaran janji-janji utopis upaya umat manusia untuk terus maju dalam mengekplorasi angkasa luar dan kehidupan yang lebih baik.

Ironis, pada saat tidak ada musuh utama, Amerika Serikat memutuskan tidak melanjutkan pengemban-gan teknologi luar angkasa. Satu hal yang paradoks, bahwa ancaman perang—antara bangsa—yang kerap menjadi alasan utama upaya pengembangan teknologi. Hal ini menumbuhkan kesadaran Ito, kendati pengembangan teknologi “seolah” didasari kepentingan umat manusia keseluruhan, namun pada akhirnya kepentingan utama adalah pada bangsa dan negara yang mengembangkannya. Ito sadar berkenaan dengan teknologi luar angkasa, maka bangsa dunia ketiga dan negara berkembang hanya sebagai penonton yang ikut “merayakan”. Demikian pula, pada saat pengembangan teknologi diserah-kan pada pihak swasta, maka percepatan pengembangan teknologi suatu bangsa saat ini sangat ditentukan oleh penerapan pengembangan dan risetnya beberapa dekade sebelumnya. Dalam hal ini visi, misi dan proyeksi pemerintah sebuah negara sangat menentukan pencapaian pengembangan teknologinya. Dalam konteks Consumer Technology jelas dibagi dalam dua pelaku: produsen dan konsumen. Tidak bisa dipungkiri bahwa, bahwa bangsa Indonesia masih menjadi konsumen teknologi yang dikembangkan oleh bangsa lain. Tengok saja gajet teknologi informasi yang ada di sekeliling kita,

atau merk mobil yang berseliweran di jalan raya.

Dalam konteks pengembangan teknologi canggih, maka keberadaan karya imajiner PT Besok Jaya menjadi penting. PT Besok Jaya menjadi parodi mengenai competitiveness sektor swasta Indonesia dalam persaingan pengembangan teknologi di kancah global. Dalam karya berupa company profile PT Besok Maju, salah satu komponen karya adalah video yang menunjukkan Ito tampil memperkenalkan

produk teknologi unggulan PT Besok Jaya.

Jelas karya ini mengapropriasi tampilan Steve Jobs pada saat mengenalkan iPhone pada MacWorld 2007. Karya company profile ini juga menampilkan pencapain teknologi PT Besok Jaya yang berkenaan

dengan angkasa luar, salah satunya dalah space suit.

Karya-karya Ito dalam pameran ini utamanya mengacu pada tema mesin dan lorong waktu. Tema ini juga tidak lepas dari kecintaan Ito pada sci-fi mengenai mesin waktu. Ada tiga karya Ito mengenai mesin waktu dalam pameran ini. Pertama, terinspirasi dari seri televisi sci-fi Inggris Doctor Who. Karya ini berupa sebuah kotak berisi komponen-komponen hasil bongkaran mesin waktu Doctor Who yang dijuluki Tardis (Time and Relative Dimensions in Space). Kedua, berupa kotak yang berisi komponen-kom-ponen dari mesin waktu milik Doraemon. Komik dan seri TV animasi Doraemon cukup dikenal oleh pemirsa dari Indonesia, yang secara jenaka menuturkan berbagai kemungkinan sci-fi dengan latar kehidupan anak-anak Jepang tahun 70an. Ketiga adalah purwarupa mesin waktu berupa sepeda yang terinspirasi oleh mesin waktu berbentuk mobil sport DeLorean ciptaan Dr. Emmet brown dalam film Back to the Future. Sci-fi dari Inggris, Jepang dan Amerika ini jelas menunjukkan bagaimana genre sci-fi kental dengan identitas dan karakter pop culture setempatnya. Karya-karya Ito mengenai mesin waktu menunjukkan bahwa perkembangan teknologi di antaranya juga dicapai melalui upaya “mencuri” teknologi dari negara yang lebih maju, sebagaimana ditujukkan oleh Jepang di awal perkembangan produksi teknologi otomotif dan desain produk, sebagaimana kemudian diikuti oleh Korea, Taiwan dan China. Saat ini tidak ada yang meragukan kualitas produk hasil industri Jepang dan Korea.

Karya berjudul “Pak Haji Siap, Zidan Siap” berupa memorabilia keyboard milik Pak Ustad juga bicara mengenai mesin dan lorong waktu, namun dalam konteks lokal. Inspirasi karya ini adalah seri sinetron di SCTV dengan judul Lorong Waktu, yang ditayangkan setiap Bulan Ramadhan dari tahun 1999 sampai 2006. Jelas sinetron ini memperkuat pendapat bahwa tampilan genre sci-fi dalam satu masyarakat akan sangat dipengaruhi oleh karakter kebudayaan populer setempatnya. Sinetron “Lorong Waktu” merep-resentasikan pentingnya aspek religi dalam kebudayaan pop masa kini, termasuk simbol-simbol religi dan komodifikasinya. Identitas lokal ini menjadi bagian penting bagi Ito.Karya ini dan ketiga karya mengenai mesin waktu digarap oleh Ito dengan cara pengerjaan yang low-tech. Merepresentasikan sci-fi dan teknologi luar angkasa dengan cara merakit dan menyusun dari benda-benda temuan sehari-hari menjadikan karya-karya Ito seperti seloroh. Bicara pengembangan teknologi di Indone-sia—tidak harus teknologi canggih, tapi cukup consumer technology dan teknologi tepat guna kadang—menjadi hal yang cukup memprihatinkan. Karya-karya Ito menjadi parodi dan satir betapa kita sebagai bangsa besar dengan kekayaan alam dan sumber daya manusia—yang tidak kekurangan peneliti dan insinyur yang cerdas—namun kesulitan dalam mengembangkan teknologi demi kemajuan

dan daya tawar bangsa Indonesia dalam persaingan global.

2 Stephen Wilson, Art + Science Now (New York: Thames and Hudson), 2010, hlm. 6.

Menjadi pelengkap untuk karya-karya satir Ito adalah karya berjudul You Promised Me Time Machine, berupa plat logam terpiuh dengan garis-garis warna melingkar mengesankan lorong yang mengelilingi tulisan “You Promised me Time Machine Instead I Got Lorong Waktu”. Namun, Ito tak melulu menampilkan refleksi kritis yang satir dalam karya-karyanya pada pameran ini. Beberapa karya lain menyuruk pada dimensi estetik untuk membangun suasana sci-fi yang berkait dengan lorong waktu. Hal itu tampak pada karya berjudul Kosmik Sanchez Apotheosis berupa instalasi proyeksi video pada layar berbentuk kerucut yang dikerjakan secara kolaborasi dengan Eldwin Pradipta, seniman new media dari Bandung. Gambaran yang tampil pada layar kerucut seperti lorong kaleidoskop bergerak yang disusun dari imej-imej dari karya-karya Ito pada pameran ini, yaitu karya Kosmik Apotheosis #1 dan karya Kosmik Apotheosis #2 berupa imej figur perempuan yang tampil rampak dan omnipresent

dalam berlapis lipatan lorong waktu.

Karya After Einstein Rosen Bridge berupa susunan pipa-pipa yang diroll membetuk elips seperti jalur balap formula dan diwarnai kontras antara separuh bagian dan berkesan optis menggambarkan gagasan mengenai wormhole hasil kalkulasi matematik Einstein dan Rosen yang dikenal sebagai Einstein Rosen Bridge. Kendati Einstein dan Rosen tidak menujukan kalkulasinya berkait dengan perjalanan galaksi, namun secara teoritikal wormhole adalah pipe line yang menjadi short cut menem-bus batas ruang dan waktu. Persoalannya, wormhole tidak pernah stabil, dan muncul sesaat-sesaat saja. Secara teoritis wormholes dapat distabilkan menggunakan material—yang juga masih teoritis—yang disebut sebagai exotic matter. Hal itu ditampilkan oleh Ito dalam karya-karyanya dengan judul yang sama. Tampil dalam bebefrapa box acrylic, karya Exotic Matter merupakan interpretasi Ito mengenai material yang belum ditemukan tersebut. Hampir serupa dengan karya Exotic Matter, namun dengan skala lebih besar Ito menyuguhkan karya Quantun Gravity Test berupa lempengan logam berbentuk cincin elips pipih dengan bentuk lengkungan yang terpiuh. Dari judulnya, karya ini juga merepresentasikan kemungkinan perjalan waktu didasari oleh teori mekanika kuantum dan gravitasi.

Karya-karya Ito pada pameran ini tidak segera menunjukkan relasi antara seni, ilmu dan teknologi. Umumnya karya-karya yang menunjukkan tumpang tindih antara seni dan teknologi adalah karya-karya yang menggunakan perangkat teknologi mutahir, yaitu bentuk hybrid antara seni dan teknologi. Seperti dikatakan oleh 2Stephen Wilson, “The artists have been eager to move into areas of scientific and technological research usually pursuit technical specialist”. Karya-karya Ito dalam pameran ini tampak tidak hi-tech. Ito mengambil jalur berbeda dengan rekan-rekannya, para seniman yang mencoba membangun bentuk hibrida seni dan teknologi. Ito meyakini kekuatan karya-karya seni rupa konvensional sebagai refleksi kritis pada persoalan yang disampaikan oleh seniman, termasuk persoa-lan teknologi dan sci-fi. Representasi persoalan teknologi dalam seni rupa tak selalu membutuhkan perangkat teklogi canggih untuk menyampaikannya—kendati hal tersebut dapat menjadi

pilihan untuk dilakukan.

ASMUDJO J. IRIANTO | Exhibition Foreword

Lagi pula, penggunaan perangkat teknologi kerap sekadar menjadi aspek aplikatif untuk menyusun konstruksi estetik dalam kategori seni new-media. Seringkali karya-karya yang memanfaatkan perang-kat teknologi justru kehilangan daya kritisnya—terhadap side effect keberadaan teknologi dalam

masyarakat modern.

Setiap seniman memiliki preferensi metoda estetiknya masing-masing. Dalam pameran ini Ito menggu-nakan pendekatan yang telah menjadi identitas kekaryaanya, menggunakan berbagai material, seperti lempengan logam, pipa, kayu dan benda-benda temuan yang disusun kembali dengan pendekatan teknik yang sederhana dan tidak canggih. Kecenderungan Ito yang humoris, sedikit nakal dan semangat bermain dapat kita rasakan dari karya-karyanya selama ini. Dengan pendekatan kekaryaan seperti itu, aspek satir dan parodi dari karya-karya Ito menjadi lebih kuat. Ito dapat bernostalgia sembari menyam-paikan pesan kritisnya. Karya-karya tersebut juga menghadirkan “kehangatan” dan sentuhan personal. Metoda low tech Ito justru menjadi representasi yang telak mengenai pencapaian teknologi bangsa Indonesia. Seni rupa tidak harus tampil canggih untuk mengkritik ketidak canggihan. Yang penting adalah kecanggihan gagasan dan itu dimiliki oleh Ito yang ditunjukkan melalui karya-karyanya.

Bandung, September 2019

In modern life, science, technology, and art are often considered as separate categories. If science and technology are considered to have a close interconnection, – in simple terms, technology is the applica-tion of science to practical needs – it is not so with art. This idea is inseparable from the paradigm of modern art, which establishes itself as an autonomous area. In the realm of traditions, these three components merge into material cultural wealth, inseparable. Modern science was initiated by the scientific revolution in Europe, which has been generally agreed to have begun from around the 16th century, when Copernicus declared the Heliocentric idea, that the center of the cosmos was the sun, and not the earth. Then Newton in the 17th century discovered the law of gravity and is now considered the father of classical physics. The development of science encouraged its application in the field of technology, which resulted in the industrial revolution in Europe and America during the 18th century. The development of science and technology in Europe has also been in parallel with the development

of art since the Renaissance era.

High Art - which became the starting point towards modern art - in the Renaissance era, this was closely related to the development of science. For instance, knowledge and anatomy were considered as an important part of a painting. Likewise with the development of knowledge regarding optics and color theory, while also with the discovery of photography, all of these have influenced the emergence of modern art. Even though modern art has become a complete autonomy, its spirit can be analogized to science and technology, which is the utopian spirit of the progress of modern society. The term avant-garde embodies its spirit. The effort to search for the essence of art clearly shows the spirit of progress. To advance, modern art takes a way to end its functional role or can be seen as being subser-vient in other fields of society. Modern art refuses to become a part of a practice that has a utilitarian function – art that is known as applied art, which then develops into Design - and representational. Autonomous modern art builds its own world, known as the art world, which continues to this day. Every modern artist competes for the authenticity in art. The efforts of esoteric modern art - looking inside - made modern art remote and difficult for people to understand at the time. However, the tools in the art world such as museums, art academies, and the actors in them, such as artists, art historian and critics become parties that provide legitimacy and construct the value of the works of

modern artists.

Modern art became obsolete in the 50s after abstract expressionism was considered to have succeeded in finding the essence of painting, namely "flatness", as outlined by abstract-expressionism "spokes-man", the great critic - Clement Greenberg. The end of the modern art paradigm of the 60s gave an opening to the new round of contemporary art. Unlike modern art, contemporary art is exoteric, looking "outward". Contemporary art provides itself as an area of critical representation of various problems of humanity. One of the cases that are often questioned by contemporary art is the position of science and technology in modern society. It is undeniable how the advances of science and technol-ogy, in addition to providing benefits, can also bring harm to humans and the environment.

The proficiency of technology also affects the strength of the economy in a certain nation. This, the mastery of technology and economic power is proven to be a parameter of the hierarchy of nations in the world, such as developed countries, developing countries, and poor countries. This notion also

plays a strong force in the global geopolitical bargaining position.

From the beginning, the works of Nurrachmat "Mas Ito" Widyasena, expressed the theme around retrofuturism, especially Space Age – a highly developing era of space technology that can be said to be the most advanced and with the highest costs for development. Retrofuturism itself is a style that combines the classic style of the past or "retro" with futuristic technologies. Call it a 1968 film made by Stanley Kubrick, 2001: A Space Odyssey where the idea of moon landing is considered routine idea, the concept of "meal in pill" in which many researchers at that time dreamed of synthetic foods that can be consumed only in capsules form, or future illustrations of how flying cars are a part of our daily lives. Retrofuturism shows how the human imagination of the future has not changed much, as stated

by 1James Sullivan,

Ito's interest with the theme of retrofuturism began at an early age, through the influence of his father, a telecommunications expert. Since childhood, Ito has been introduced to various readings on technol-ogy and picture magazines on the genre of retro futurism. Not surprisingly, since childhood, Ito was interested in science-fiction. Sci-fi genres in pop culture, such as Star Wars, Star Trek, Space Odyssey and films related to time machines and futuristic technology, were the main consumptions of Ito — and also for friends of his generation. The popularity of sci-fi in pop culture globally shows the strong interrelation of these two things. It could be said that sci-fi dominated pop culture in the West, with the

result (especially Hollywood movies) being spread all over the world.

In several studies, it is explained how the sci-fi genre offers an attitude of escapism from the chaos of the world. This genre also offers access to homesickness, nostalgia, and carefree times. However, Sci-fi also provides opportunities for a critical representation of current situations and problems. In this case, sci-fi can appear as a metaphor, allegory, and even a parody.In this latter context, we can place

an important position in Ito's works.

“Despite the tremendous technological leaps of the past several decades, in many ways our vision of the future remains just the same as it was 40 years ago. As we hurtle into 1999, a distinct nostalgia for the unfulfilled promise of the future — mostly the idea that we would one day be liberated from the mundane — lies at the core of much of our popular culture....Some call it

"retrofuturism."

1 James Sullivan, "Visions of Tomorrowland; How past concepts of the future are taking over pop culture,"The San Francisco Chronicle, January 3, 1999

The title of the exhibition is Nostalgic Criticism: Operation Taimket, at least affirms - in a satirical manner - a planned movement in an "emergency" situation and a significance to carry out. The title, though seems playful, actually implies a reflection of criticism from the works on display.

One of the main parts of Ito's works in this exhibition is the existence of an imaginary company, named PT. Besok Jaya. This departs from the reality that at present, developments and technological advance-ments are left to the private sector. Of course, this is related to the production of consumer technology. After the cold war, space technology experienced a decline, even since 2011, Nasa ended its space shuttle rocket program. In the cold war era, the United States and the Soviet Union competed to develop space technology. Aside from being propaganda and parameters of technological superiority, space technology is very important in its derivative technology, such as military technology in a variety of possible applications, including weapons and telecommunications technology. Besides, some of its derivative applications also reach consumer technology, namely cell phone cameras, memory foam, and baby milk formulas. The end of the development of space technology, for Ito, was like breaking the utopian promises of humanity's efforts to go forward in exploring outer space and a better life.

Ironically, when there were no major enemies, the United States decided not to continue the develop-ment of space technology. One thing is paradoxical, how the threat of war - between nations - is often the main reason for efforts to develop the technology. This has come into Ito's awareness, where despite how the development of technology "seems to be" based on the interests of the whole human race, in the end, the main interest was in the nation and state that developed it. Ito is aware, where under space technology, the third world nations and developing countries are then regarded only as of the spectators who take part in "celebrating". Likewise, when technology development is left to the private sector, the acceleration of technological development of a nation today is largely determined by the application of its development and research several decades earlier. In this case, the vision, mission, and projections of a country's government determine the achievement of technological development. In the context of Consumer Technology, it is divided into two actors: producers and consumers. It is undeniable how the Indonesian nation is still a consumer of technology developed by other nations. This can be seen from the information technology gadgets that are all around us or car

brands that are milling about on the highway.

In the context of developing advanced technology, the existence of PT. Besok Jaya's imaginary works become important. PT Besok Jaya is a parody regarding the competitiveness of the Indonesian private sector in the competition for technological development on the global scene. In the work of PT. Besok Jaya's company profile, one component of the work is a video showing Ito appearing to introduce PT. Besok Jaya's superior technology products.This, work appropriated the appearance of Steve Jobs when introducing the iPhone to MacWorld 2007. The work of the company profile also featured the techno-logical achievement of PT. Besok Jaya relating to outer space, one of which was the spacesuit.

Ito's works in this exhibition mainly refer to the theme of machines and time tunnels. This theme is also not separated from Ito's deep passion for sci-fi regarding time machines. There are three works of Ito regarding time machines in this exhibition. First, inspired by the British sci-fi television series Doctor Who. This work consists of a box containing components of a result from the dismantlement of Doctor Who's time machine, dubbed Tardis (Time and Relative Dimensions in Space). Second, in the form of a box contains the components of Doraemon's time machine. Doraemon's comics and animated TV series are well-known by viewers from Indonesia, who jokingly explain various sci-fi possibilities against the background of Japanese children's lives in the 70s. The third is the prototype of a time machine in the form of a bicycle inspired by a time machine in the form of a DeLorean sports car created by Dr. Emmet Brown in the film Back to the Future. Sci-fi from England, Japan and America clearly show how

the sci-fi genre is thick with the identity and character of its local pop culture.

Ito's works on time machines show how the development in technology is also achieved through the efforts of "stealing" technology from more developed countries, as shown by Japan in the early development of automotive technology production and product design, as followed by Korea, Taiwan, and China. Up to the present now, there are no doubts about the quality of products from Japanese

and Korean industries.

The work titled "Pak Haji Ready, Zidan Ready" in the form of Mr. Ustad's memorabilia of the keyboard also talks about machines and time tunnels, but in a local context. The inspiration for this work derived from the infamous soap opera series on SCTV with the title Lorong Waktu aired every Ramadan from 1999 to 2006. This, soap opera reinforces the view on how the appearance of the sci-fi genre in one community will greatly be influenced by the character of its local popular culture. The "Lorong Waktu" soap opera represents the importance of religious aspects in contemporary pop culture, including religious symbols and their commodification. This local identity became an important part of Ito. This work and the other three works on time machines were worked on by Ito in a low-tech manner. Repre-senting sci-fi and space technology by assembling and compiling everyday found objects might make seem Ito's works as a joke. Talking about technology development in Indonesia — not necessarily sophisticated technology, but enough as consumer technology and appropriate technology sometimes — becomes quite an alarming topic. Ito's works can be seen as a parody and satire on how we as a big nation with superfluous natural wealth and human resources – with no shortage of intelligent research-ers and engineers - still have difficulty in developing technology for the advancement and bargaining

power of the Indonesian people in the global competition.

Another work that complements Ito's satirical works is a work titled You Promised Me Time Machine, in the form of a metal plate with an impressive circular color stripe around the tunnel that reads "You Promised Me Time Machine Instead I Got Lorong Waktu". However, not all of Ito's works merely display

satirical critical reflection in his works at this exhibition.

Some other works are to the aesthetic dimension to build a sci-fi atmosphere that is connected over time. This can be seen in the work titled Cosmic Sanchez Apotheosis – an installation of a video projec-tion on a cone-shaped screen that was created in collaboration with Eldwin Pradipta, a new media artist from Bandung. The images that appear on the cone screen such as the moving kaleidoscope tunnel are a compilation of images from Ito's works in this exhibition, which are Cosmic Apotheosis # 1 and Cosmic Apotheosis # 2, in the form of images of women who rather appear dense and omnipresent in

layers of multiplied time tunnels.

Ito's work titled After Einstein Rosen Bridge in the form of rolled pipelines shaped to ellipses similar to a formula race track and colored with a contrast between half portions and optical impression illustrates the idea of a wormhole from Einstein's and Rosen's mathematical calculations known as the Einstein Rosen Bridge. Although Einstein and Rosen did not address the calculations to interstellar travel, theoretically wormholes are pipelines that become a short cut through the boundaries of space and time. The problem is, wormholes are never stable and appear from moment to moment. Theoreti-cally, wormholes can be stabilized using a material - which is also still theoretical - called exotic matter. This is showcased by Ito in his works with the same title. Appearing in several acrylic boxes, the work of Exotic Matter is Ito's interpretation of this undiscovered material. Almost similar to the work of Exotic Matter, but on a larger scale, Ito presents the work titled Uji Gravitasi Kuantum, a flat elliptical ring-shaped metal plates with the most distant arches. From the title, this work also represents the

possibility of time travel based on the theory of quantum mechanics and gravity.

Ito's works in this exhibition do not immediately show the relationship between art, science, and technology. Generally, works that show the overlap between art and technology are works that use the latest technological devices, which are hybrid forms of art and technology. As 2Stephen Wilson said, "The artists have been eager to move into areas of scientific and technological research usually pursuit technical specialists.". Ito's works in this exhibition do not seem hi-tech. Ito took a different path from his colleagues - artists who tried to build hybrid forms of art and technology. Ito convinces the power of conventional artworks as a critical reflection on issues raised by artists, including issues of technolo-gy and science. Representation of technological problems in fine arts does not always require sophisti-cated technological tools to convey them - although this can be an option to do. Moreover, the use of technological devices is often merely an applicative aspect to construct aesthetic construction in the category of new-media art. Often works that utilize technological devices lose their critical power – due

to the side effects of the availability of technology in modern society.

Every artist has each of their method of aesthetic preference. In this exhibition, Ito uses an approach that has manifested as his work's identity, using a variety of materials, such as metal plates, pipes, wood and found objects, which are then reconstructed with a simple and unsophisticated technical approach. Ito's humorous tendencies, a bit witty and his passion to play, can be felt from his works so far. With such approach, the satirical and parody aspects of Ito's works become stronger.

2 Stephen Wilson, Art + Science Now (New York: Thames and Hudson), 2010, hlm. 6.

Ito can reminisce while conveying his critical message. The works also present "warmth" and personal touch. Ito's low-tech method instead becomes a critical representation of Indonesia's technological achievements. Fine art does not have to look sophisticated to criticize the inferiority. What is important is the sophistication of the idea and it is owned by Ito which were demonstrated through his works.

Bandung, September 2019

ASMUDJO J. IRIANTO | Exhibition Foreword

Pak Haji Siap? Zidane Siap?, 2019 (Mixed Media) 135 x 78 x 31 cm

You Promised Me Time Machine, 2019 (Digital Print on 0,8 mm Stainless Steel) 150 x 210 x 25 cm

LAPAN Operasi Hiu Terbang, 2016 (Mixed Media and Found Objects) Variable Dimension

A Thing In Our Factory Of Perfection, 2015 (Neon Box) 80 x 195 x 23 cm

CEO Keynote, 2019 (Video) 7 minute - 3 Editions + 1AP | Kosmik Sanchez Apotheosis, 2019 (Video Installation) 3

minute - 3 Editions + 1AP (Collaboration piece with Eldwin Pradipta)

Kosmik Apotheosis #1, 2019 (Oil Paint on Brass) 150 x 200 cm

Kosmik Apotheosis #2, 2019 (Oil Paint on Brass) 200 x 150 cm

PT Besok Jaya : Dekonstruksi Tardis Pak Doktor, 2019 (Mixed Media) 140 x 70 x 25 cm

PT Besok Jaya : Dekonstruksi Tardis Pak Dora, 2019 (Mixed Media) 140 x 70 x 25 cm

PT Besok Jaya : Taimket WP-01, 2019 (Bicycles, Flux Capacitors, Aluminum, Found Objects) 175 x 175 x 90 cm

Reklame Hidup Taimket WP-01, 2019 (Digital Print on Silk Satin Fabric, Fan Installation) 300 x 450 cm

Jembatan Einstein-Rosen #1, 2019 (Iron Pipes and Enamel Paint) 193 x 140 x 5 cm

Uji Gravitasi Kuantum #1, 2019 (Enamel Paint on Aluminium) 85 x 145 x 22 cm

Uji Gravitasi Kuantum #2, 2019 (Enamel Paint on Aluminium) 85 x 145 x 22 cm

Materi Eksotis #1, 2019 (Enamel Paint on Aluminum and Brass) 30 x 30 x 11 cm


NURRACHMAT WIDYASENA | Curricullum Vitae

Nurrachmat Widyasena (B. 1990) is an Indonesian artist who lives and works in Bandung, Indonesia. Majoring in printmaking arts at ITB Faculty of Art and Design, he primarily working in the applied techniques of printmaking, installation and painting. His works explores notions around retro

futurism art, where he tries to stand in the crossroad of reality and fantasy.

www.mas-ito.com

FORMAL EDUCATION

2008 – 2013

Printmaking Art Studio Program

Faculty of Art & Design

Bandung Institute Of Technology

NON - FORMAL EDUCATION

Image On Photographic Print Workshop – Festival Grafis Berseni,

Lawangwangi, Bandung, Indonesia, 2011

Spit Bite Etching Workshop – Singapore Tyler Print Institute,

Singapore, 2011

Drawing Class – Villa Merah, Bandung, Indonesia, 2008

RESIDENCY

“Nafas Residency”, Yogyakarta, Indonesia, 2013

“The Bluecoat”, Liverpool, United Kingdom, 201

2019Solo Exhibition “After Einstein Rosen Bridge”, Solo Presentation, The Bluecoat, Liverpool, United Kingdom“Art Jakarta 2019”, Art Fair, Sheraton Hotel Grand Ballroom, Gandaria City, Jakarta, Indonesia“Chromaticity”, Can’s Gallery, Jakarta, Indone-sia“Art Moments”, Art Fair, Sheraton Hotel Grand Ballroom, Gandaria City, Jakarta, Indonesia

2018“Art Unlimited : XYZ”, Gedung Gas Negara, Bandung, Indonesia“Biennale Jawa Tengah #2 : The Future of History”, Semarang, Indonesia“SSAS/As/Ideas”, Bale Project, Selasar Sunaryo, Bandung, Indonesia“Bazaar Art Jakarta”, Art Fair, Ritz-Carlton Jakarta, Pacific Place, Jakarta, Indonesia“Manifesto 6.0 : Multipolar”, Galeri Nasional, Jakarta, Indonesia“Axis By Praxis”, G13 Gallery, Petaling Jaya, Malaysia“A Small Universe In The Field Of Meaning”, Edwin Gallery, Jakarta, Indonesia

2017“Infamy”, Pinto Art Museum, Antipolo, Philippines, Indonesia“WHAT YOU WEAR (are not) YOU ARE YOU ARE (not) WHAT YOU WEAR”, The Warehouse, Plaza Indonesia, Jakarta, Indonesia“Biennale Jogja XIV Equator #4”, Jogja National Museum, Yogyakarta, Indonesia“Art Expo Malaysia Plus”, MATRADE Exhibition & Convention Center, Kuala Lumpur, Malaysia“X”, Orange Gallery, Bacolod, Philippines“Equidistant Night”, Provenance Art Gallery, Manila, Philippines“Kecil Itu Indah”, Edwin Gallery, Jakarta, Indonesia

“Art Stage Jakarta”, Bale Project, Grand Sheraton Ballroom, Jakarta, Indonesia“BNE Re:Emergence”, Selasar Sunaryo, Bandung, Indonesia“Ace Mart”, Ace House, Yogyakarta, Indonesia“The Group Show”, Platform 3, Bandung Indonesia“Faux Utopia”, Living Lab Vol 1, Greenhost Boutique Hotel, Yogyakarta, Indonesia“Pra-Biennale Jogja XIV Equator #4”, PKKH UGM, Yogyakarta, Indonesia“Care of Wood”, Kaya Kayu Exhibition, The Space The Parlor, Bandung, Indonesia

2016“Syarikat Dagang Vol 1”, Gudang Sarinah, Jakarta, Indonesia“Art Point”, Senayan City, Jakarta, Indonesia“Sea+ Triennale 2016”, Galeri Nasional, Jakarta, Indonesia“Universe Behind The Door”, Artotel, Jakarta, Indonesia“Art Mosphere”, Galleries Lafayette, Pacific Place, Jakarta, Indonesia“Pindai/Senarai”, Galeri Teras, NuArt Sculpture Park, Bandung, Indonesia“Bazaar Art Jakarta”, Art Fair, Ritz-Carlton Jakarta, Pacific Place, Jakarta, Indonesia“Pintu Rejeki Vol 1”, Gudang Sarinah, Jakarta, Indonesia“Street Stage”, Gudang Cicaheum, Bandung, Indonesia“Waiting For It To Happen”, Nadi Gallery, Jakarta, Indonesia“A.S.A.P.”, G13 Gallery, Kuala Lumpur, Malaysia“RADAAR”, Awanama Art Habitat, Jakarta, Indonesia“Multiple Junctures”, Mizuma Gallery, Gilman Barrack, Singapore

2015“Road To Artistic Diversity”, Nafas Residency Showcase, Chandan Gallery, Kuala Lumpur, Malaysia

“[Re]—Affirmation Channels”, Jogja National Museum, Yogyakarta, Indonesia“Getok Tular”, Omni Space, Bandung, Indone-sia“Bazaar Art Jakarta”, Art Fair, Ritz-Carlton Jakarta, Pacific Place, Jakarta, Indonesia“#familyandfriends”, ROH Project, Equity Tower, Jakarta, Indonesia“The Collective Young From South East Asia”, Mizuma Gallery, Singapore“Void”, Langgeng Gallery, Magelang, Indonesia“Road To Artistic Diversity”, Nafas Residency Showcase, Langgeng Art Foundation,Yogyakarta, Indonesia“Art Moments”, Jogja National Museum, Yogyakarta, Indonesia“Art Stage Singapore 2015”, Marina Bay Sands, South East Asia Pavilion, Singapore“Pop Mart”, Art Exhibition, Artotel, Jakarta, Indonesia

2014Solo Exhibition “Young Artist Discovery”, Art Taipei 2014, Solo Presentation, Taipei World Trade Center, Taipei, Taiwan“MiniMartNow”, Affordable Art Exhibition, Awanama, Pasar Seni ITB, Bandung, Indonesia“Bandung New Emergence Vol.5”, Art Exhibi-tion, Selasar Sunaryo, Bandung, Indonesia“ICAD 2014”, Art & Design Festival, Grand Hotel Kemang, Jakarta, Indonesia“Xero Fest”, Xerography Exhibition, Art Dept, Pacific Place, Jakarta, Indonesia“Bazaar Art Jakarta & Casa by Bravacasa”, Art Fair, Ritz-Carlton Jakarta, Pacific Place, Jakarta, Indonesia“Ciputra Collection”, Art Exhibition, Ciputra Artpreneur Center, Jakarta, Indonesia“When In Bali, Do Like The Balinese Do”, Art Exhibition, Kendra Art Space, Bali, Indonesia“Art | Jog | 14”, Art Fair, Taman Budaya Yogyakarta, Yogyakarta, Indonesia“How To Draw #1”, Drawing Festival, Gedung Gas Negara, Bandung, Indonesia

“Jogja Miniprint Biennale”, Printmaking Biennale Exhibition, Bank Indonesia Museum, Yogyakarta, Indonesia“Detournement”,Duo Exhibition, ROH Projects, UOB Plaza, Jakarta, Indonesia“Arte 2014”, Art Festival, Jakarta Convention Center, Jakarta, Indonesia

2013Solo Exhibition “Patriotic Myth of Space Age”, Bandung Contemporary, Solo Exhibition, Kamones Gallery & Workshop,Bandung, Indonesia“Kampung Pande”, Art Exhibition, Museum Sri Baduga, Bandung, Indonesia“Spot Art”, Art Exhibition, ARTrium Singapore, MICA Building, Singapore“Locafore”, Art Exhibition, Bale Pare, Kota Baru Parahyangan, Bandung, Indonesia“Bazaar Art Jakarta & Casa by Bravacasa”, Art Fair, Ritz-Carlton Jakarta, Pacific Place, Jakarta, Indonesia“Horizon Of Strenght : Meta Kriya Nusantara”, Art Exhibition, Kunstkring Art Gallery, Jakarta, Indonesia“Art | Jog | 13”, Art Fair, Taman Budaya Yogyakarta, Yogyakarta, Indonesia“Open Visual Art”, Academic Exhibition, FSRD ITB, Bandung, Indonesia

2012“Art | Jog | 12”, Art Fair, Taman Budaya Yogyakarta, Yogyakarta, Indonesia“Drawing A Distance”, Drawing Exhibition, House Of Matahati Gallery, Selangor, Malaysia“Those Good Old Days”, Art Exhibition, Galeri Kita, Bandung. Indonesia“Billboard Art Project”, Salem, Oregon, United States“Soemardja Mini Artspace”, Soemardja Gallery, Bandung, Indonesia

2011“Festival Grafis Berseni 2011”, Lawangwangi Science & Art Estate, Bandung, Indonesia“Art | Jog | 11”, Art Fair, Taman Budaya Yogyakarta, Yogyakarta, Indonesia“Urban Frames”, Photo Exhibition, Galeri Parahyangan, Bandung, Indonesia“Portraits III”, Online Art Exhibition, Artist Portofolio Magazine

2010“Villamerahtorium”, Art Exhibition, Padi Art Ground, Bandung, Indonesia“Museum Masa Depan”, Art Exhibition, CC Barat ITB, Bandung, Indonesia“Penang International Print Exhibition 2010 (PIPE 2010)”, Art Exhibition, Penang State Museum Art and Gallery, Penang, Malaysia“Convenient Store”, Art Exhibition, E’sp Gallery, CCF, Bandung, Indonesia“15x15x15 Mini Art Project#3 : Recreate x Reality x Representation”, Art Exhibition, Soemardja Gallery, Bandung, Indonesia“Bandung Affairs : 100/1 Affairs Logoset” Logo Exhibition, Lou Belle, Bandung, Indonesia“Benang Hitam” Printmaking & Drawing Exhibition, Galeri Kita, Bandung, Indonesia

2009“We Hail We Sail : Jodi in The Morning Glory Parade” Art Exhibition, Galeri Kita, Bandung. IndonesiaMural BonBin “Ruang Jeda” participant, Tamansari, Bandung, Indonesia“Mural Cigondewah” participant, Cigondewah, Bandung, Indonesia“Cerita Benda” Drawing Exhibition, KGB Alternative Room-FSRD ITB, Bandung, Indonesia“Titik” Academic Exhibition TPB FSRD ITB, Gedung Serba Guna ITB, Bandung, Indonesia

RUCI Art Space held its first exhibition in October 2014 at an abandoned restaurant, which now has been converted to the gallery’s permanent space. The name, RUCI, is malleable in its connotation from

being the source of light, taste, or pleasure.

Based in Jakarta, Indonesia, 450m2 area includes a main exhibition hall, and a video/installation room where artists are challenged to produce works that are outside of their artistic practice. We aim to provide a space for artists and the public to develop, experiment and transform ideas into

representative symbols and objects in the context of Indonesian contemporary art.

Over the five years we have collaborated with new emerging contemporary artists both domestically and internationallly, so as to nurture the artistic interest of the young generations. Some of our highlighted events are bringing Ron English’s Propaganda Asia Tour in Indonesia to life, providing artworks in private museum’s collection, participating in international art fair, and fine art

collaboration of local artists with local brands.

Partners

Tommy Sibarani a young entrepreneur that has begun collecting indonesian contemporary art since the age of 27. A graduate from University of Indonesia, Faculty of Economy, and University of Queensland, Business Economic and Law is intrigued in the representational and economic value of art. The creative industry provides a platform to source for innovations. The establishment of RUCI Art Space is Tommy’s commitment to the exploration of creativity to gain collective benefits from the

limitless pool of inspiration.

Bima Rio Pasaribu, is a corporate lawyer with experiences in other fields ranging from fashion, music and now contemporary art. The 31 years old Padjajaran Bandung University graduate finds in his profession the art of persuasion. To be conversing in the context of contemporary art he is able to recognize and learn the depth of people’s characters. Appreciation of beauty through art has the ability to gratify the inner self. With his line of work it’s important to balance the logic and emotional attributes. Thus, he hopes with the support of the arts others too can benefit from such self

exploration. To inspire future generations to embody altruistic quality.

Jl.Suryo No.49Jakarta, Indonesia

@[email protected] www.ruciart.com

Nurrachmat "Mas Ito" Widyasena - Bale Project

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