Observatories of the Self Sara Nuytemans

Transcription

The conception of BIASA ArtSpace was a natural response to founder Susanna Perini’s
Sara Nuytemans
many encounters with young artists in Java, Jogjakarta and Bali. BIASA ArtSpace’s
first gallery in Bali was established in 2005 with the intent to present progressive
Indonesian contemporary artists to the public along with other international artists
inspired by Indonesia.
It’s
an
expansion
original
into
platform
the
for
city
of
debate;
Jakarta
an
is
an
alternative
endeavor
space
that
to
could
generate
act
as
a stimulus and a free port for art practice and a provision for socio-cultural
understanding. The gallery strives to become an alternative window intended
to redirect and inspire both local and global art institutions in building
a dynamic cooperation between art, fashion, cultural, social and political disciplines
in both creation and creative tension.
www.biasaart.com
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Jalan Kemang Raya 20
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Jakarta 12730
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Indonesia
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t. +62 (0)21 71796264
Observatories of the Self
I am pleased to introduce Sara Nuytemans’ ‘Observatories of the Self’, a body of
work presented in the newly appointed ArtSpace in the BIASA building in Jakarta.
The exhibition is Nuytemans’ first solo in Indonesia and is supported by Alia Swastika,
curator of the first part of the artist’s project for the Gwangju Biennale last year.
I met Sara several years ago during her first art residency in Indonesia. Since then,
she shares her life with her Indonesian husband in Yogyakarta, the heart of traditional
Javanese culture and of a vibrant contemporary art scene, permeated with conflicting
forces and with awareness for ‘Community’. Sara’s own cultural roots have thus dug
into new ground, breeding a creative vitality that surpasses her European upbringing.
The idea to invite Sara to show her work with us came as a natural effect of our knowing
each other and of my consequent appreciation for her artistic integrity and authenticity.
When Sara expressed her interest in collaborating with BIASA through the medium of
fashion, I overcame my old fear to cross-pollinate art and fashion and let her use
whatever she wanted from the collection. She proved herself right; her conceptual
intervention on shoes expresses an amusing performative sensibility, aesthetically valid
yet distant from being a fashion statement.
By presenting Sara Nuytemans at the opening of our new space in Jakarta, the gallery
wishes to continue the discourse between artist and audience that was started in Bali
with the creation of BIASA ArtSpace in 2005; showcasing contemporary creative forces
that reflect the desire to fuse global and local refined awareness.
Susanna Perini
Founder of BIASA ArtSpace
Bali, April 8, 2013
ON DEFINING SELF
By Alia Swastika
I’m in awe of the universe, but I don’t necessarily believe there’s an
intelligence or agent behind it. I do have a passion for the visual in
religious rituals, though, even though they may be completely empty
and bereft of substance. The incense is powerful and provocative.
David Bowie
The question of human existence, and furthermore, the being of the
Universe, has been encouraging discourse and debates throughout most
civilizations in the form of the question of ‘God’ as the creator. Mankind
seeks power outside of themselves to find ground for beliefs that connect
them with the Universe. As Bowie mentioned, some might find the answer
in religion and others find it through means of a spiritual journey. These
questions have, undeniably, provoked thousands of inventions for humans
to connect with “outer space” in an attempt to explain what is called ‘our
essence’.
Observatory of the Self 3.1 (2012)
Kinetic Installation
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l Observatories of the Self
Observatories of the Self l
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At the same time, being part of a greater human society is to confront new
challenges daily. In our everyday lives, we face strangers in many public
spaces: working, shopping, on the streets, eating out, and other activities.
These moments encourage us to see others’ faces, and, indirectly, assure
us that we are not alone in this great big world. There are so many other
lives and stories. At the same time, today’s world also offers a new way
of connecting people. Physical encounters are not merely the way of
being together; the
use of technology is
almost
a
considered
given
and also influences
how
with
What
was
past
has
virtual
others.
in
the
and more real in our
we
condition
connect
described
become
as
more
current daily lives. In
societies like Indonesia, where these installations are being exhibited, the
notion of individuality is something that is not often applied in everyday
life. With a long history of communal living and strong social bonds, people
Detail of Observatory of the Self 3.1 (2012)
in Indonesia, in many cases, have no clear separation of public life and
private life, therefore, the concept of individuality becomes blurred. From
childhood to adulthood, one always refers to oneself as part of a larger
society, co-existing with other people, and most of the time there is no real
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experience of “being with yourself”. In a simplistic way, this habit of being
together often creates a fear of being alone, or feeling uncomfortable
with being alone. From this basic state, the notion of individuality then is
perceived in a very abstract manner; to acknowledge the existence of human
beings, but not to guarantee respect and appreciation to express individual
thoughts, feelings, and a personal world view. Hence, Sara Nuytemans’
proposal of Observatories of the Self hopefully provokes questions on how
we accept and perceive ourselves. By looking in a mirror, one meets ones
memory, dreams, (in)security, fear, and also, hidden feelings, that could be
points to redefine one’s own individuality. We try to investigate our own
understanding of “I” in the first place, and the cognition of “other” would
arise as the consequence of viewing them from the position of “I”.
In Observatories of the Self , Sara Nuytemans works with underlying concepts
of existentialism regarding the self vs. reality along with contemporary
manifestations that render this relationship ambiguous. She uses one of
the most common actualizations of self- image and reflection, the mirror,
to reconstruct the individuals’ relationship with his or her environment.
Observatories of the Self is a project divided into several parts. Some of
the installations create two different senses of being: human as the center
of the Universe and human as part of a larger Universe. The artist creates
Wearable Kinetic Installation
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Observatory of the Self 4.1, 4.2, 4.3 (2013)
Kinetic Objects
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objects with mirrors surrounding it that enables us to look at ourselves no
matter what distractions are around. Visually, this resembles the Milky Way
or “Bima Sakti” and an image of the solar system where planets revolve
around the sun. In the big ball installation, Nuytemans places the audience
in a wider context, a closed Cosmos that directly separates people from
the outside world but at the same time remains part of the Universe. The
separating walls also become mirrors from the individuals of their alienated
feelings and a sense or absence of connectivity.
Human beings not only move physically, but also struggle to transform
spirit and energy to be able to face things beyond visible reality. Sara
Nuytemans’ installations, Observatories of the Self , captures how one’s self
moves from the idea of being the center of the Universe to being part of
the greater Cosmos. Our journey through the world is a subtle movement
dipping in and out of ourselves, to pose as an insider and an outsider and
experience the spaces ‘in-between’. Human beings also have their internal
journeys in the mind, wandering around “to place themselves on the map.”
These installations also refer to the idea of constant change and continuous
transformation; everything in the Cosmos is always moving around.
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Kinetic Installation
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Detail of Observatory of the Self 3.1 (2012)
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Vibrating Mirror
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Observatories of the Self accessories for BIASA footwear
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Interactive Video Installation
All outfits and footwear from BIASA (page 6 not included)
Photographs by TAPA (Page 6 photograph by Jhoeko)
Special Thanks to: Arya Pandjalu, Arya Sukapura Putra, Giyanto, Andreck Khilaf, Lifepatch, Anything is
Possible, Pak Har and Dimas stainless crew, Mas Buddy, Pak Parjono
BIASA ArtSpace Special Thanks: Juliana Janssen, Angela Domencini, Alia Swastika, Made Arsa Wijaya,
Saverio Cacopardi , Gusti Arya, Rifandy Priatna, Patricia Ludmilla, Lisda Silitonga
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INTERVIEW WITH SARA NUYTEMANS
by Alia Swastika
The project obviously shows your personal interest towards finding yourself. Could you elaborate
how this personal experience has its relevance in the wider context of contemporary life today?
Experience arises in the joining of information from the external world with information from the internal
world. The path towards consciousness is about experiencing and is experience not something every art
work should give to its observers? Even if it’s a painting, a piece of music or a poem. With my work I
Today, we live in a world where we are not so far from destroying the planet beyond return and in doing
try to give an experience in the way that I feel competent with. I use the setting of creating a physical
so, exterminating ourselves. Financial, technological, social or whatever kind of achievement is more
experience. I guess it has to do with my fascination for physicality and its laws. Physical limits are the
important than the ‘conservation’ of nature. We are clearly missing out on something, somewhere, and,
tools that are give me a structure to create.
in my opinion, that something is the dimension of our inner self and consciousness. If we are able to focus
on our inner self and reflect about it, we might find some solutions to what happens outside us and will
What inpired you to eagerly encompass the aesthetic aspects of fashion in this exhibition?
be capable of influencing our environment in a positive way. If we can become aware of our (unconscious)
thoughts and feelings, we can see how these are manipulating our view of the world and of others.
It is interesting that the idea of observing the ‘self’ in your project is represented in the relationship
between self, surroundings, and the Universe. In your opinion, is there any lack of being comfortable
with our own ‘self’ today ?
The world is becoming more individualistic and selfish, people are not truly listening to themselves. Most
people are too concerned with their outer appearance, achievements and how they can make themselves
more wanted and more dominating. To truly ‘be with oneself’ means to accept every part of yourself, your
Aesthetics are an important part of presenting the concept of the Observatories of the Self mainly
because, in my opinion, beauty in any way provokes appreciation for and participation in life. This can
correspondingly create a deeper connection with our inner selves. To have my exhibition at BIASA that is
extremely engaged with the aspects of aesthetics through art, fashion and styling, I have the opportunity
to take this aspect of my work to a new level.
I can also tell that this project has a very strong spiritual background. Did you also do your research
based on spiritual thinkers or spiritual philosophy? Could you mention some of them that are most
influential for you?
good parts but also your bad parts. By doing so, you stop reacting to your dualistic mind that is making
distinctions between different aspects of you. Consequently, this will stop you from making distinctions
I have the feeling that my life is my teacher. I’m from a Catholic background, went to a Catholic elementary
between you and all that is not you. You become one with the whole, the Universe. It is there where
school and started to question things that I was taught to assume were the only truth. I rebelled against it
unconditional happiness, love and wealth lie.
and by the age of 22, you could have called me an Atheist. I thought that our ability to reason would enable
You use the metaphor of Cosmos (cosmological logic) to symbolize the idea of ‘self’ and Universe.
Could you explain how you started to explore the Cosmos, and concept of “Outer Space”, for instance?
us to find the answers to all questions. It was only when I got an autobiography of Alexandra David-Néel’s
travels through Tibet from a friend as a birthday present, that I was touched by the mysteries of life on a
more cerebral level. I became interested in the teachings of Buddhism and how ‘God’ is not some instance
outside of ourselves but is part of everything. Amongst my teachers you will find: my grandmother Connie
The unlimited space of the Universe gives me a lot of inspiration, it is beyond comprehension. I like to
Taeyearts, Lao Tsu, Jalaluddin Rumi, Renard, Lynne Mctaggart, Pim van Lommel, Einstein, Carl Jung,
keep that in mind, especially when I’m feeling sad or frustrated, because what do my little ‘I’ and my little
Anthony de Mello, Herman Hesse, Ad Oosterdorp, Stephen Nachmanovitch, W. Grey Walter, A Course
feelings mean in an unlimited space like the Universe? A gaze into the sky gives me instantly a broader
of Miracles, my meditations and the most inspiring teachings of Grandma Ayahuasca. I believe there
perspective on myself, an acceptance of myself and all there is.
are many ways to attain spiritual understanding; life itself gives all lessons. It is only what you want to
In many of your works, the experience of the audience always becomes something important. Do you
perceive and what extent you are willing to open your mind.
believe one can find oneself by looking into art , and further more, by experiencing it?
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Artist Biography
Sara Nuytemans
Born on July 1st, 1970, Nieuwpoort, Belgium
Lives and works in Yogyakarta, Indonesia
www.saranuytemans.net www.birdprayers.net
Education
1999-2000
1992-1997
Master in Digital Arts, IUA, Pompeu Fabra Universiteit, Barcelona (ES)
Master in Industrial Design Engineering, TU Delft (NL)
2007
Selected Exhibitions and Performances
2013
2012
2011
2010
2009
2008
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Observatories of the Self, BIASA Artspace, Jakarta (ID) (SOLO)
Roundtable, Gwangju Biennale, Gwangju, South Korea
Festival FIAC Bioterio, XVII International Festival of Contemporary Art in Leon, Mexico
Observatories of the Self, S.14, Bandung (ID)
LiftOff Festival, Lift Gallery, San Fransisco, USA
BIASA Artspace, Seminyak, Bali (ID)
Newton Festival, Naaldwijk (NL)
Jogja Biennale, Yogyakarta (ID)
TUFF, Toronto Urban Film Festival, Toronto (CAD)
Beasty, Cemeti Art House, Yogyakarta and Salihara Gallery, Jakarta (ID)
My Garden, The One Minutes Foundation; o.a. deBuren Brussel, Centraal Museum Utrecht,
Kunsthal KAdE Amersfoort, Marres Maastricht, NIMk Amsterdam (NL)
City One Minutes, Guangdong Museum, Guangzhou, China
Pufrok, Theater Zeebelt, Den Haag (NL)
Selamatan Digital, LAF, Langgeng Gallery, Yogyakarta (ID)
ID – Contemporary Art Indonesia, Kunstraum Kreuzberg-Bethanien, Berlin (D)
Zinder 2010, Stella Theater Den Haag (NL)
Emerging Wave, Hangaram Art Museum, Seoul, Korea
Cut 2010, Kuala Lumpur, Singapore, Manila, Yogyakarta, South-East Asia
Performance at Tong Tong Festival, Kosmopolis The Hague (NL)
Cross/Piece, Gallery Canna, Jakarta (ID)
Andergrond, The Hague (NL)
Blueprint for Jogja, Tembi Contemporary, Yogyakarta (ID)
Jakarta Biennale, Nasional Galeri Jakarta, (ID)
Opposites Attract, Veemvloer, Amsterdam (NL)
In Transition, Neme, National Centre of Contemporary Art, Moscow, Russia
In Transition, Neme, Museum of Fine Arts, Ekaterinburg, Russia
Landing Soon, Erasmushuis, Jakarta, (ID)
Het Archief, 18 jaar De Illusie, Den Haag (NL)
Bunker expositie, De Waterkant, Den Haag (NL) (SOLO)
2006
2005
2004
2003
2002
2001
Lucy, UTA gallery, Istanbul, Turkey
Interface, Open Space Gallery, Vienna (AU)
Interface, Interbiennale. Bratislava, Slovakia
IVAA, Yogyakarta, (ID)
Sika Gallery, Ubud, Bali, (ID)
OostCultuurFestival, Zwolle (NL)
Fatti e Finzioni, ARTlab, San Servolo, Venice (IT)
MMAC 06, Mollerussa, Catalunya (ES)
Performance with BMB con, re:visie, Centraal Museum Utrecht (NL)
Jack of Hearts, Stroom Den Haag (NL)
Milkshake II, Artots, Den Bosch (NL)
Special Mission to Mongolia, Zaal5, Filmhuis Den Haag (NL)
Polderlicht 2005, Amsterdam (NL)
Special Mission to Mongolia, video installations in Mongolia, Ukraine, Russia, Kazakhstan.
New Forms Festival, Vancouver, Canada
Buitenspel, GEM, Den Haag (NL)
IFI festival, Pazo da Cultura, Pontevedra, Galicia (ES)
Rotterdamse Museumnacht 2004, TENT, Rotterdam (NL).
Exposicion international de Honor, Biennale SIART, Museo National de Arte, La Paz, Bolivia
Ithaka, Kunstencentrum het Stuk, Leuven (B).
Sala Metronom, Barcelona (ES) “Animales Divinos”, performance with “enReposo”
Stand van zaken 2002, Stroom HCBK, Den Haag (NL)
Dogtroep, workshop-performance by invitation, Amsterdam (NL)
Art Futura 2001, Centre de Cultura Contemporània de Barcelona (CCCB), Barcelona (ES)
Cultuurdagen, Nieuwpoort (B)
Awards
2010
Szpilman Award 2010, International Art Prize for Ephemeral Works
Residence
2010
2007
2006
2007
ID – Contemporary Art Indonesia, Kunstraum Kreuzberg-Bethanien, Berlin (D)
Sika Gallery, Ubud, Bali, (ID)
Landing Soon, Cemeti Art House, Yogyakarta, (ID)
ArtLab, San Servolo, Venice (IT)
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2008
2010
What is it I project into the streets?
Performance
2010
I for Isolation #2
Kinetic installation
2004
I love me... I love me not
Dual screen video projection
2008
2004
Opposites Attract
Kinetic video installation
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Drenkeling
Touching Toughts
23
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Sara Nuytemans
Susanna Perini
Visual Artist
Founder of BIASA ArtSpace
Sara Nuytemans’ work is based on the
Italian-born Susanna Perini’s vision and life
observation of how human beings interact with
philosophy is a direct result of her discovery of
the world. The capacity of things that impress
various artistic forms of expression in Indonesia.
us is surprising to her. Her interests lie in how
Residing in Bali for over 25 years and fluent in
our duality intrinsic of the mind represents
Bahasa Indonesia, she has been able to develop
physical or conceptual dilemmas. Why are we
and share this vision through her clothing
here? What is our role as human beings? These
line BIASA and art gallery BIASA ArtSpace.
fundamental questions are part of Nuytemans’
Since 1994, Perini has offered a unique line
research entitled Observatories of the Self.
of unstructured, elegant and free-flowing
Observatories of the Self are spaces or
garments to express individual style through
constellations that help to immerse the
BIASA. The metamorphosis of BIASA to include
observer into an environment that opens them
BIASA ArtSpace in 2005 was a natural extension
up to greater matters; call it the meaning of
of Susanna’s life’s work and creative energy.
life, the universe or the self. The constellations
Perini founded BIASA ArtSpace with the
underline the principals of quantum physics;
intention to expose Indonesian contemporary
one’s convictions prescribe one’s vision about
art to a wider, more global audience while
reality. The observer is forced to become
bringing to light important thoughts on the
aware of their (physical) existence, therefore,
challenges faced within a fast-transforming
they are forced to see the world without being
environment. She continues to work with both
able to forget that the world they percieve is
Indonesian and International artists on a long-
directly related to themselves. In this context,
term basis, offering unremitting support in
Observatories of the Self act as meditation
developing their work in a critically engaging
spaces.
environment.

Observatories of the Self Sara Nuytemans

Transcription

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