H O M E : F O R
A
T H E
L U M I N O U S B O R D E R
S P A C E
C R O S S E R S
A G U N G H UJ AT N I K A J E N N O N G
“ D o we a lwa ys b r i n g o u r ‘ h o m e’ a ro u nd when we
a s well a s a new p ersp ect i ve o n ‘ politic s,’
m i g ra te o r rove? [ … ] C a n we re a l ly b e without a
became a defining characteristics of Indonesian
h o m e? ” - H e n d ro Wi ya n to ( 2 0 1 6 )
contemporary ar t represented by
1
t he generat i o n. 1 0 0 1 Mar tia n H om es re p re s e n t s a l atest d eve lo p m e n t w h i ch a c c u m u l ate d t h e ar tistic
In the early-2000 s, the proliferation of digital
p ra ct i c e of T i n t i n Wu l i a fo r at le a st 10 years
media pushes forward a new wave of visual
p a st . T h o u g h s p e c i f i c a l ly c o m m i s s i oned for
culture. Following the monetary crisis which
t h e In d o n es ia n Pa v il ion at La B i e n n ale di
had swept Asia and gave Indonesia’s economy
Ve nez ia 2 0 1 7 , t h e p ro j e ct wa s b u i l t upon some
a hard blow in 1997, digital media became
i d e a s i n te r wove n c lo s e ly w i t h T i n t i n’s previous
a mo re rea so na b le cho i ce fo r f i lmmakers. 2
wo r ks. In 1 0 0 1 M a r tia n H om es , t h e ‘geopolitical
On the other side, ar tists were becoming
b o rd e rs’ — a c e n t ra l t h e m e i n T i n t i n’s works thus
more and more familiar with the use of digital
fa r— h a s c o nve rge i n a n ew way w i t h some ideas
camera , and the popularity of self-assembled
on ‘sp ace,’ ‘ ti m e,’ a n d ‘c o n n e cti v i ty,’ fo r mi ng
computers with pirated video-editing software
a n ew re lev a n t c o n tex t w i t h t h e a ct ual issues
had also encouraged them to experiment more
of t h e d ay.
with video. At the time, the growing numbers of f i lm screeni ngs, d i scussi o ns, v i d eo exh ibition s,
O n B o rders
or video and shor t films festival underlined
T h e p o l i t ic a l s i t u at i o n i n I n d o n e s i a following
the presence of video and film as new ar tistic
t h e d ow n fa l l of S u h a r to i n 1 9 9 8 b e came
phenomenon in Indonesia . Especially in
a s et t i n g e nv i ro n m e n t fo r T i n t i n Wu lia’s early
J a ka r t a , yo ung generat i o n of a r t i sts, des ign ers,
e n d e avo r a s a n a r t i st . T h e lo o s e n i n g up of
filmmakers who work with video c ommingled
gove r n m en t c e n s o rs h i p o n t h e f re e dom of
i n t he sa me ci rcle.
ex p re s s i o n , p a ra l le l w i t h t h e a c c e lerating c u rre n t s of g lo b a l i ze d i n fo r m at i o n – marked
After finishing her studies in 1998 with degrees
a m o n g ot h e rs by t h e d i ve rs i f i c at i o n of
in architecture and music, Tintin Wulia was
in fo r m at io n ch a n n e l s a n d m a s s m e d i a ,
instead initially known as a film activist and
e s p e c i a l ly t h e i n c re a s i n g ly p o p u l a r inter net
d i recto r. I n 2002 she est a b li shed Minikino ,
a n d c a b le T V– g ave way to t h e b i r t h of a new
an independent initiative which organised
ge n e rat i on of ‘ p o st- 1 9 9 8 - Refo r m’ a r tists.
discussions and shor t film screenings. Aside
S y m pto m s of i m p lo s i o n a n d ex p lo s i on of
from making shor t films, she also worked as
a e st h et i c l a n gu a ge c au s e d by t h e c rossover
an editor in a production house as a way
of ge n re s, mediu m, an d ar tistic disc i p li ne s,
to survive. Tintin’s films, for instance
V i o le n c e a ga in st th e Fru it ( 2 0 0 0 ), w hich narrates
In many of Tintin’s works, narratives on identity
a m et a p h o r o n t h e v i o le n c e a g a i n st Indonesian
often traverse back and for th between personal
C h i n e s e d e s c e n t s i n 1 9 9 8 , wa s o n e of
a nd co llect i ve hi sto r i es. Alt ho ugh Invasion
m o st - fe at u re d wo r ks i n b ot h f i l m festivals
b egi ns f ro m t he hi sto r y of t he a r t ist’s family,
a n d v i d e o a r t ex h i b i t i o n s. T i n t i n’s e ncounter
the idea embedded in the work resonates with
w i t h s eve ra l I n d o n e s i a n v i d e o a r t i sts, including
broader political issues. In a pres entation of
K r i s n a M u r t i a n d H a f i z R a n c a j a le, b rought her
her resi d ency p ro gra m at Cemet i Ar t H ou s e,
fu r t h e r i n to t h e a r t wo r ld c i rc le. T h roughout
Yog yakar ta (2008), Tintin intriguingly displayed
2 0 0 3 –2 0 0 5 , T i n t i n’s v i d e o wo r ks b e gan
t he i nst a llat i o n of I nva s i o n a lo ngside Pula ng
to app e ar f re q u e ntly i n v i s u a l a r t exhibitions,
(Ho me co mi n g , 2008), a video showing footage
b ot h i n I nd o n e s i a a n d a b ro a d , m a k i ng her bigger
f ro m her i nter v i ew wi t h So b ro n A i dit (1934–
re p u t at i o n a s a ‘ v i d e o a r ti st’ t h a n a ‘filmmaker.’
2007). 5 Sobron was an Indonesian literary and intellectual figure who were not a llowed to
O n e of T i n t i n’s t y p i c a l ch a ra cte r wa s
retur n to his homeland after completing his
h e r p ro p e n s i t y to o pt i m i ze t h e u s e of manual
d ut i es a b ro a d , fo llowi ng t he ‘co up attempt’
wo r k . T h is is o bservable, fo r in stan c e,
by t he Pa r t a i Komuni s Ind onesi a ( Indonesian
in Eve r yt h in g’s O K ( 2 0 0 3 ), a sto p - m otion
Co mmun i st Pa r ty) i n 1965. 6 Tintin’s interest in
a n i m at i o n a b o u t t h e u n c o n t ro l le d g rowth
Sobron’s life as a victim of stigmatization was
of J akar t a , wh ich was created by cu t t i ng,
not a mere coincidence. Tintin had for decades
a rra n g i n g, p i l i n g , a n d g l u i n g h u n d reds of small
kept the story about her grandfather who was
p i e c e s of st y rofo a m to fo r m a ve r y complex
abducted and disappear during the capture and
m i n i at u re of a c i t y. T i n t i n e n j oye d t he all-round
purge of Leftist activists and com munists by the
t a ct i le, c a lc u l ate d , a n d d et a i le d p rocess of ar t
New Ord er gover nment . 7
m a k i n g. S u ch a n a r t i st i c te m p e ra m ent would al so b e fo u n d p ro m i n e n t i n h e r l atter wo r ks.
In her personal reflections, Tintin also sees ‘borders’ as an issue that is congruous with
Inva s i o n ( 2 0 0 8 ) i s a wo r k w h i ch m a rks Tintin’s
the questions on identity. In the context of
e a r ly i nvo l ve m e n t w i t h t h e t h e m e s he has
nat i o na l b o und a r i es, fo r exa mp le, th e ‘border ’
p e rs eve re d w i t h u n t i l to d ay. I n t h e kinetic
deter mines the territory where we stand and at
i n st a l l at i o n , s h e wo r ke d w i t h eve r yday objects
t he sa me t i me d ef i nes o ur st at us (as a ‘loc al’
s u ch a s ra zo r b l a d e s, s h e et p a p e r, a nd cotton
or ‘foreign’ resident , for example). It should
t h re a d s, j u st l i ke a c ra f t s p e rs o n . W hat is
be acknowledged that Tintin’s experiences
m o re p ro m i n e n t i n t h e wo r k , h owever, is the
of moving from one place to another, and
e le m e n t th at c o n n ote s th e i s s u e of id ent i t y.
traveling—traversing different borders—to
T h e h a n g i n g k i te s i n t h e i n st a l l at i o n were
par ticipate in many exhibitions and residency
m a d e o u t of p a p e rs we re c ra f te d f rom legal
programs in various countries gives influence to
d ocu m e n t c o p i e s of h e r fa m i ly m e m b ers.
3
They
her i nterest i nto t he t heme. 8 However, instead
h u n g i n t h e ex h i b i t i o n ro o m w i t h woven strands
of approaching the theme of ‘borders’ with an
of re d t h re a d d a n g l i n g , c o n n e cte d to several
outright geographical perspective, Tintin sees
p ot s o n t h e f lo o r. A te n s i o n m ay a r i se when
t he b o rd ers a s p a r t of geo p o li t i ca l dis c u s s ion s.
watch i n g t h e f lo at i n g ra zo r b l a d e s and the
In this framework , geographical territory and
h a n g i n g m a g n et s, w h i ch at t i m e s c an break the
(political) power have to be understood as
st retch i n g t h re a d s t h at c o n n e ct t h e kites and
two mutually influential aspects and equally
t h e p ot s. H e re th e ki te s re p re s e n ts t he ‘of f i ci a l’
deter mining the way people think and act when
i d e n t i t y of i n d i v i d u a l s o r g ro u p, w i t h the pots
co nf ro nted wi t h b o rd ers.
a s t h e i r or i g i n s, w h i le t h e ra zo r b l a des allude to a p o l i t i c a l m e ch a n i s m w h i ch at a ny given time
One of the early works of Tintin which directly
co u ld e l im i n ate th e i r fo r m a l statu s. 4
touched upon the theme of geopolitical borders
T IN TI N Wu LI A , IN VA SI O N, 2008 KIN ETI C I NSTA LLATI ON, D ETA I LS I MAGE C OuRT ESY O F T H E ART I ST AN D M I LAN I G ALLERY
was ( Re ) Col le ction of Togeth er n es s (2008).
the segments of the map based on par ticular
T h e i n st a l l at i o n p re s e n te d fa ke p a s spor ts with
narratives, such as routes of people’s
i t s p a ge s d i s p l ay i n g swat te d m o s q uitos and
movements and mobility so that the whole final
b lo o d st a i n s — a n i ro n i c a n d c leve r t wist on
shape of the work—both the outer contour and
t h e i u s s a n gu in is p r i n c i p le. Pa s s p o r t represents
borders inside the map–changed from common
t h e c o m p lex e n t i t y of p owe r : i t e n a bles some
ca r to gra p hi c rep resent at i o n.
p e o p le to f re e ly m ove a ro u n d t rave rsing n at io n a l b o rd e rs. B u t fo r s o m e oth er p eo p le,
I n a ma p whi ch d i v i d es co unt r y territories,
i t i s a l s o a d o c u m e n t w h i ch b i n d s s omeone
the borders always bear legal and for mal
to h i s i d e n t i t y of c i t i ze n s h i p, a s we l l as to
dimensions which define the national economic
v a r i o u s of f i c i a l re gu l at i o n s b l u n t ly embedded
and political sovereignty, for instance: natural
i n i t ( e. g. : t h e p ro h i b i t i o n of h av i n g more than
resource health and its people’s c itizen s h ip.
o n e p a s s p o r t s fo r I n d o n e s i a n s, o r to travel to
Indonesian Anthropologist Dave Lumenta
p ar t icu l ar c o u n tr i e s, a n d s o o n ).
once opined on the issue, identifying the paradoxes of national border. According
M o st of T i n t i n’s i n st a l l at i o n s we re produced
to him, the division of territory in maps is
a s a cyc l i c a l s e r i e s of wo r k , w h i le a lso being
f req uent ly ut i li zed to p ro mote a black-an d-
s i te - s p e c i f i c. T h e p a s s p o r t s, fo r i n stance, have
white nationalism, and does not recognize any
t ra n sfo r m e d i n to d i f fe re n t wo r ks fo r a number
ambivalence sufficient to emphasize both the
of t i m e s : At o n e t i m e t h ey we re a c o mposition
ecological dynamics or sociocultural realities
of o b j e ct s re s e m b l i n g c o lo r g r i d s ; b efore they
i n t he b o rd er a rea s. 9 Those who live around the
i n c a r n ated i n to c o n s u m e r o b j e ct s - l ike being
borders may possess spatial orientation and
of fe re d a s a b u l k of i te m s i n a n au tomated
mobility patter ns which do not confor m the
ve n d i n g m a ch i n e. O n a n ot h e r o c c a s ion, those
for mal jurisdictive regulations of border and
p a s s p o r t s we re a l s o t re ate d a s ‘ h a ndicraft
national territoriality. Sometimes they have to
o b j e ct s’ w h i ch re q u i re d p a r t i c i p a n t s to fill and
cro ss t he b o rd er wi t ho ut a ny lega l per mis s ion .
b i n d t h e m by t h e m s e l ve s. N ot o n ly a variation
However, the situation does not mean that
of p re s e n t at i o n of a n o b j e ct , t h e s e ries
they do not have any obedience or the sense
o r st a g i n g i n T i n t i n’s p ro j e ct s i s a a lways
of nationalism demanded by the state. Their
re exa m i n at i o n o n t h e m et h o d of a r t istic
activities are more attributed to unpredictable
p ro d u ct i on a n d m e d i at i o n . I t i s h i g hly relevant
factors of which they could not reject , such as
w i t h t h e b o rd e r a s a c o n t i n ge n t t h e me, as well
natural for mations, practical mobility, access to
a s a c o n c e pt , w h i ch c o n t i n u o u s ly o ccurs in
resources of livelihood, etc. Such a c o n c l u s io n ,
t h e sp ace of n e goti ati o n .
in my opinion, resonates with the images p o r t rayed i n Ti nt i n’s wo r ks, esp ecially Fleu rs,
I n a dd re s s i n g t h e t h e m e of ‘ b o rd e r ’, Tintin has
where the de-legitimation of bord ers happen
a l s o m a d e u s e of i n te ra ct i ve a n d p a r ticipatory
due to the aleatoric patter ns which activates
m et h o d s, e s p e c i a l ly i n t h e wo r ks t h at feature
t he a gency of b ot h i nd i v i d ua l a nd c ommu n ity.
m ap as a n i c o n . N ou s n e n oton s p a s le s f le urs ( cyc l i c a l , 2 0 0 9 –2 0 1 2 ), fo r exa m p le, is an
I n Te rra I nc o g ni ta , et c ete ra (2009) Tintin fur ther
i n st a l l at i o n b a s e d o n m a p s, w h i ch i nvolved
explores the concept of car tography a n d ga mes.
au d i e n c e m e m b e rs a s t h e exe c u to rs of the
The work was an installation which featured
wo r k . In several dif feren t cities, F le urs was
a wall painting of a blank map, which was used
re al i ze d w i t h d i f fe re n t e p h e m e ra l materials,
as an arena for members of the audience—as
s u ch a s f lowe rs i n p ot s, s p i c e s, a n d colorful
the ‘actors’—who par ticipate in a territorial
sto n e s l a i d o u t o n t h e f lo o r to re s e mble the
claiming and naming game. Through a simple
m a p of t he wo r ld ’s c o u n t r y b o rd e rs. The visitors
lucky dip system, audiences were asked
we re i nv i te d to p a r t i c i p ate by re c o nstructing
to divide the areas in the map, mark and
T IN TI N Wu LI A ( RE )COLL ECTI O N OF TOGETHER N ESS - S TAG E 2, 2008 INSTA LLATI ON WI TH SI NG LE-CHA NNEL VI D EO, I NSTA LLATI ON VI EW I MAGE C OuRT ESY O F T H E ART I ST AN D M I LAN I G ALLERY
n a m e t h e i r ow n te rr i to r i e s. At a g l a nce, this
connection in this work is a very central
p a r t i c i p ato r y wo r k m ay lo o k l i ke a pleasant
element . Yet it does not merely function
c o l le ct i ve p a i n t i n g a ct i v i t y. B u t t h e process
practically as a digital system that connect
m ay evo ke s o m e sto r i e s of c o n q u e st in the age
both objects, but also as a way to re-discuss
of c o lo n i a l i s m , a lo n g w i t h i t s d a r k and bloody
the issue about ‘border ’. These days
h i sto r y. I n m a ny of T i n t i n’s wo r ks, w hat may look
the inter net and digital media provide the
t r i v i a l a n d p l ay fu l , of te n c o n c e a l s o me things
most sophisticated ability to connect people in
w it h co m p lex i s s u e s.
distant physical spaces—we sometimes believe that we are really facing our interlocutor during
Abo ut t his p ro j e ct
a video conference. The Inter net
T h is is n ot a s c i e n c e f i cti o n : “ 10 0 1 Mar tian
is considered a common means to explore
Ho m e s is a sto r y a b o u t s u r v i v a l ,” T i n t i n sa i d .10
the ‘borderless world’. But is it true that there
Al t h o u g h h e re we n o lo n ge r s e e i c o ns such
i s no ‘ b o rd er ’ i n t he i nter net co mmu n ic ation?
a s p a s s p o r t s, m a p s a n d wa l l s t h at have been
In a world still vulnerable to political
sy n o ny m o u s w i t h T i n t i n’s o e u v re, t h is project
conflicts—resulted from what Tintin singles out
st i l l c o n n ote s t h e m e a n i n g of ‘ t ra j e ctories’ and
as uneven globalization’—the power
‘ b o rd e rs’, eve n i n i t s m o st d i st a n t a nd imaginary
of inter net remains subject to the limits set by
s e n s e. T h e ‘ M a rs’ h e re i s n ot p l a c e d as a topic
inter national territorial law. Various cases of
of fan t asy as in po pu l ar cu l tu re. As we ll ,
co ntent censo rshi p, si te b lo cki ng, h ack in g, etc.,
it is n ot a n i c o n w h i ch re p re s e n ts th e fa ct s.
ultimately show how the concepts
N o r d o e s i t sy m b o l i ze t h e a r t i st ’s b elief in
of geopolitical boundaries remain valid in
s c i e n t i f i c c o n c l u s i o n s a n d p re d i ct i ons about
t he wo r ld of W W W.12
ex t rate rrest r i a l hum a n l i fe i n th e future. T h i s p ro j e ct w i s h e s to ex p re s s s o m ething about
The si ngle cha nnel v i d eo i n 1001 Mar tian
a t ra j e cto r y of s p a c e a n d t i m e b ot h in its real
Ho me s (2017) comprises the arrangement of
a n d im a g i n a r y s e n s e.
staged-interviews which were interwoven into a story with a future time-setting. Some of
T h e re a re a n u m b e r of m ot i ve s t h at drove Tintin
the actors appearing in this video are for mer
to re a l i ze 1 0 0 1 M a r tia n H om e s i n to its complex
political prisoners in Indonesia , as well as their
fo r m at i o n s. Al l of t h i s b e g a n w i t h h er personal
family or relatives, who recount , both actual or
ref le ct i o n o n t h e sto r y of h i s a n c e stral family
symbolically (using ‘Mars’ as a meta p h o r ),
w h o h ad to l i ve a n d wo r k b etwe e n two ‘ ho mes’,
their bitter experiences in prison, or when
i n C h i n a a n d B a l i . I n te re st i n g ly, t h e story has
facing the stigma during the implementation
s e e m e d to re c u r a n d re i n c a r n ate i n the life that
of New Order gover nment’s cleansing of
s h e h a s s p e n t b et we e n Au st ra l i a a nd Indonesia
co mmuni sm.13 The interaction between this work
ove r t h e l ast ten years.
and the audience will take place inside the exhibition space through surveillance
1 0 0 1 Mar tia n H om es c o n s i st s of t h ree pairs of
cameras that will unexpectedly display some
in st al l at io n s th at a re d i s p l aye d s i m ult a neo usly,
footage inser ts, as if the future por trayed in
a n d h o u s e d by t wo a l m o st i d e n t i c a l rooms
t he v i d eo mi xes wi t h rea l t i me a nd s pac e.
in Ve n ice a n d J a ka r ta . T h e f i rst p a i r, N ot Alo n e ( 2 0 1 7 ), i s a wo r k t h at re stage
The wo r k Un d e r th e S un (2017) may be seen
‘a re a l i t y’ m e d i ate d by t h e s c re e n , t he camera
as the reconstruction of the whole exhibition
a n d t h e in te r n et i n th e ex h i b i ti o n s pa ce.11
project . The main element of this work is the
V i s i to rs i n b ot h s i te s a re t h e p a r t i c ipants
stair that leads us into the front of a door where
w h o h ave to i n te r l a c e t h e p a i r of works into
a peeping hole provide us a simulated view
a u n i f i e d w h o le by a ct i v at i n g a d o m e-shaped
of an ar tist’s working space. Like peeking the
t w i n re s p o n s i ve m a ch i n e. T h e i n te r net
past fragments of the exhibition, we can see
T IN TI N Wu LI A T E RRA I N CO GNI TA , ET CETERA , 2009 INT ERACTI ON VI EW I MAGE C OuRT ESY O F T H E ART I ST AN D M I LAN I G ALLERY
s o m e d o o d l i n g i n t h e s ketch b o o k a nd an failed p rotot y p e s t h at i s fa i le d , w h i ch i m mediately fo r m a c ro s s - l i n ke d re l at i o n s h i p w i th two other wo r ks i n t h e ex h i b i t . B u t w h o i s t h e subject i n t h i s ex h i b i t i o n i f t h e p e e p i n g eye s on the wa l l a re a ct u a l ly o u r ow n — t h e eye s of the b e h o ld e rs ? T h ro u g h a n o n - l i n e a r exchange of p o s i t i o n s, n a rrat i ve s, s p a c e a n d t i me, this time T i n t i n Wu l i a i s p re s e n t i n g u s a g a m e about the ‘ b o rd e r ’.
1.
H e n d ro W i ya n to, C ros s ing t he Borde r of “ Hom e”, catalogue of Rethi nki n g HOME exh i b i ti on , 2016.
2.
Ronny Agu stin u s, “ Vide o: Not All Corre ct … ”, in O.K . Video – J akar ta Vide o Ar t Fe st iva l post-event catalogue, Agung H u j at n i ka je n n on g , e d ., Ja ka r ta : Ru a n g ru p a , 2004.
3.
T h e I n d onesian gover nment once require citizens of C h i n e s e descent in Indonesia to maintain in their p o s s e s s ion, a par ticular document proving their c i t i ze n s hip, in order to take care of other legal / a d m i n i strative documents. The discriminative policy was e nacted si n ce th e 1950 s, a s con seq u e nc e of t he ius s an gui n i s principle adopted by the People’ Republic of C h i n a u nd e r Mao Ze d on g.
4.
Ed w i n Jurri en s, Motion and D istor tion, The media in the ar t of J o mpet da n T int in, In don esia a n d th e M al ay Wo r ld, vol . 3 7, n o. 109, Novemb er 2009, pp. 277-297.
5
S o b ro n was the younger brother of D.N. Aidit , leader of t h e I n d o nesian Communist Par ty who was accused as the m aste r mi n d of th e ‘cou p’ atte mpt i n 1965.
6.
T h e C o u p attempt was commonly 3 0 S e pte mb e r ’ (T h e Move me n t of o r G 3 0 S, which claimed victim of I n d o n e s i a n mi li ta ry of f i ce rs, a n d
7.
I n t h e N ew Order, (1966-1998), descendants or relatives of a l le ged communists and leftists were stigmatized. In s o m e c a ses, they were even banned from working for the gove r n m ent . To omit bad image and stigma from their n e i g h b o urhood, stories of lost families and relatives were ke pt s e c ret . After Suhar to stepped down, the stigma has i n d e e d s hifted slightly. But the phobia of communism has n ot e n t i re ly d i sa pp e a r i n In d on e si a .
8.
T i n t i n was b or n i n Ba li . Sh e we n t to stu d y in Bandung, t h e n B o ston, and Melbour ne, and has in her whole life s p e n t t i me travelling to many par ts of the world to p a r t i c i p ate in exhibitions and residencies. In 2003 she g a i n e d p er manent resident status as a skilled migrant f ro m t h e Australian Gover nment , she has lived in Brisbane eve r s i n ce, while working back-and-for th between I n d o n e s i a a n d Au stra li a .
9.
Dave L u me n ta , Paradoks Perbatasan Ne ga ra (The Paradox of N ati ona l Border), www.komp a s.com - 18/1 0 / 2 0 1 1, http : //nasi on a l .kompa s.com/rea d / 2011/10 /1 8 / 0 2 5 0 1 4 9 0 / Pa ra d o ks.Perbatasan.Negara accessed April 12th, 2017
referred to as ‘Gerakan Se pte mb er 30 t h), seven high-ranking seve ra l ot hers.
1 0 . I n te r vi ew wi th a r ti st , Ma rch 2017. 1 1. Te ch n ic ally, th e i n sta llati on Not Alone is a development of p revi o u s ‘ twi n n e d works’ by T i n ti n , T he Bu tterf ly G enerator ( 2 0 1 2 ), which was simultaneously displayed at Osage G a l le r y, Hong Kong and ZKM, Karlsruhe, Ger many for the ex h i b i t i on of The Global Contemporary, Ar t World after 1 9 8 9 (2 011). Se e http : //www. g lob a l-con te mporar y.de/en/ a r t i st s / 6-tintin-wulia
12. J ack G oldsmit h and Tim Wu, Who Contro ls th e Inter n et , I l l usions of the Borderless World, N ew Yo r k , un i ve rs i t y Press, pp. 49-55. 13. Most of the materials for this work has b e e n d eve lo p e d from a project that Tintin Wulia has don e w i t h Ke n Set iawan, ht t p://1965set iaphar i.org Agung Hujatnika aka Agung Hujatnikaje n n o n g i s a n independent lecturer based in Bandung , I n d o n e si a . S ome of his curated exhibitions incl ud e N o t a D e a d - E n d, Biennale Jog ja - Equator # 2, Yog yakar t a , I n d o n e si a , 2013; F lu id Zones - Biennale Jakar ta AR E N A at G a le r i Nasional Indonesia , Jakar ta , Indonesia , 2 0 0 9 . I n 2 0 0 12012 he was the main curator at Selasa r S u n a r yo A r t Space, Bandung. In 2014, he was nomin ate d to re c e i ve an Independent Vision Curatorial Award f ro m Independent Curator Inter national (ICI), N ew Yo r k . A gu n g obtained his doctoral degree from Band u n g I n st i t u te of Technolog y (ITB) in Bandung, Indone s i a , a n d h a s been teaching at his al ma mater since 2 0 0 8 . H i s b o o k , Cu ration and Power was published by J a ka r t a A r t C o u n c i l (2015).
R U M A H : U N T U K
R U A N G P A R A
B E R P E N D A R
P E L I N T A S
B A T A S
A G U N G H UJ AT N I K A J E N N O N G
“A p akah kita selal u m em bawa ser ta ‘ rum a h’
ciri seni rupa Indonesia yang diwakili oleh
ket i ka h i j ra h a ta u m e ra nta u ? [ … ] B i sakah kita
generasi ini.
t i d a k b e ru m a h ? ” - H e n d ro Wi ya n to ( 2016)
1
Pada awal 2000-an, proliferasi media digital 1 0 0 1 Mar tia n H om e s m ewa k i l i p e r kembangan
mend o ro ng gelo mb a ng b ud aya v i s u al yan g baru .
m u t a k h i r ya n g m e n g a ku m u l a s i p ra ktik ar tistik
Menyusul krisis ekonomi yang melanda Asia dan
T i n t i n Wu l i a s e ku ra n g - ku ra n g nya s elama
menghantam keras perekonomian Indonesia
s e p u l u h t a h u n te ra k h i r. M e s k i d i ke rjakan
pada 1997, media digital menjadi pilihan yang
s e c a ra k h u s u s u n t u k t a m p i l a n p e rd ananya di
le bi h m a s uk a ka l unt uk p a ra p e m buat film. 2
p avil iu n In d o n e s i a d i La Biennale di Venezia
Di pihak lain, para perupa semaki n akrab
2 0 1 7, p roye k i n i te r b a n gu n at a s s e j umlah
dengan kamera digital , dan populer nya
g a g a s a n ya n g b e r t au t e rat d e n g a n karya-karya
komputer “jangkrik” dan piranti lunak
T in t in se b e l u m nya . D a l a m 1 0 0 1 M a r ti a n Ho me s,
penyuntingan video bajakan juga membuat
‘ b at a s ge o p o l i ti k’, te m a s e n tra l d a l am ka r ya -
mereka mulai lebih banyak bereksperimen
ka r ya T i n t i n , b e r i r i s a n s e c a ra b a ru dengan
dengan video. Pada masa itu, maraknya acara
p e rs o a l a n ‘ ru a n g ’, ‘ wa k t u’ d a n ‘ ko n e ktivitas’, dan
pemutaran, diskusi, pameran, festival video
m e m b e n t u k ko n te ks b a ru ya n g re levan dengan
maupun film pendek memper tegas kehadiran
p e rso al a n a ktu a l h a r i - h a r i i n i .
video dan film sebagai sebuah fenomena a r t i st i k b a ru d i I nd o nesi a . Terut a m a di Jakar ta ,
S o a l b at a s
generasi muda perupa , desainer, pembuat
S i t u a s i p o l i t i k p a s c a - le n g s e r nya S uhar to pada
film yang bekerja dengan video bergaul dalam
1 9 9 8 d i I n d o n e s i a m e l at a r i p e r j a l a nan awal
li ngka ra n ya ng kura ng leb i h sa ma .
T i n t i n Wu l i a s e b a g a i s e n i m a n . M e n gendur nya se n sor p e m e r i n ta h ata s ke b e b a s a n b ereksp resi ,
Menyelesaikan kuliah pada tahun 1998 dan
p a ra le l d e n g a n m e n gu at nya a ru s g lobalisasi
menyandang gelar sarjana arsitektur dan
i n fo r m a s i — d i t a n d a i a n t a ra l a i n d e ngan
musik , Tintin Wulia malah terlebih dahulu
d ive rsifika s i ka n a l i n fo r m a s i d a n m ed i a ma ssa ,
dikenal sebagai seorang sutradara dan
te ru t a m a d e n g a n s e m a k i n p o p u le r nya inter net
penggiat film. Pada tahun 2002 ia mendirikan
d a n T V ka b e l— m e n d o ro n g ke l a h i ra n generasi
Minikino, sebuah inisiatif independen yang
b a ru s e n i m a n ‘ p a s c a - Refo r m a s i 1 9 98’. Gejala
menyelengga ra ka n d i skusi d a n p emu taran film-
i m p lo s i m au p u n e ks p lo s i b a h a s a e stetik
f i lm p end ek . Sela i n memb uat f i lm-film pen dek ,
s e b a g a i ak i b at d a r i p e rs i l a n g a n ge nre, medium
ia juga per nah bekerja selama beberapa tahun
d a n d i s i p l i n a r t i st i k , s e r t a c a ra p a ndang baru
sebagai editor di sebuah rumah produksi
te r h a d a p p e rs o a l a n - p e rs o a l a n ‘ p o l i tik’, menjadi
unt uk menya mb ung hi d up. Fi lm- f ilm Tin tin ,
an t a ra l a i n V iole n c e a ga in st th e Frui t (2000)
laya ng- laya ng d enga n p ot - p ot i t u. Di s in i,
ya n g m e n a ra s i ka n m et a fo r te n t a n g peristiwa
layang-layang merepresentasikan identitas
ke ke ra s a n te r h a d a p et n i k T i o n g h o a di Indonesia
‘resmi’ individu atau kelompok , pot-pot sebagai
p a d a 1 9 9 8 , te r m a s u k s a l a h s at u ya ng sering
asal-muasal , sementara silet bisa diibaratkan
m a s u k s e le ks i fe st i v a l f i l m m au p u n pameran
sebagai mekanisme politik yang dalam sekejap
s e n i v i d e o. Pe r ke n a l a n T i n t i n d e n g a n sejumlah
b i sa ‘ menghi la ngka n’ st at us fo r mal mereka . 4
s e n i m a n v i d e o I n d o n e s i a , te r m a s u k Krisna Mur ti d a n H a f i z R a n c a j a le, m e m b awa nya masuk lebih
Dalam banyak karya Tintin, narasi-narasi
j au h ke d a l a m l i n g ka ra n s e n i ru p a . Sepanjang
tentang identitas seringkali melintasi sejarah
2 0 0 3 -2 0 0 5 ka r ya - ka r ya v i d e o T i n t i n mulai sering
p erso na l d a n ko lekt i f. M eski p un I nvasion
t a m p i l d i b e r b a g a i p a m e ra n s e n i ru pa di dalam
berawal dari sejarah keluarga , gagasan dalam
d a n l u a r n e ge r i , m e m b u at nya le b i h dikenal
karya ini beresonansi dengan persoalan politik
s e b a g a i ‘s e n i m a n v i d e o’ ket i m b a n g ‘pembuat
yang lebih luas. Dalam sebuah presentasi hasil
fil m’.
residensinya di Rumah Seni Cemeti, Yog yakar ta (2008), secara menarik Tintin memajang
S a l a h s at u ka ra k te r T i n t i n ya n g k h as adalah
i nst a la si I nva s i o n berdampingan dengan
ke c e n d e ru n g a n nya u n t u k m e n go pt i malkan
Pulang ( Ho me co mi n g , 2008), sebuah video yang
ke r j a t a n g a n . I n i c u ku p j e l a s, m i s a l nya , pada
merekam wawancaranya dengan Sobron Aidit
Eve r y t h i n g ’s O K ( 2 0 0 3 ), s e b u a h a n i m a si sto p-
(1934-2007). 5 Sobron adalah seorang sastrawan
m ot i o n te n t a n g p e r t u m b u h a n kot a Jakar ta yang
dan intelektual Indonesia yang tidak diijinkan
t i d a k te r ko n t ro l , ya n g d i ke r j a ka n d engan cara
kembali ke Indonesia dari tugasnya
m e m oto n g , m e nyu s u n , m e n u m p u k , mengelem
d i lua r neger i , menyusul ‘ p erco b a an ku deta’
rat u s an p oto n g a n sty rofoa m b e ru kuran super
oleh Par tai Komunis Indonesia pa da tahun
ke c i l s e h i n g g a m e nye ru p a i m i n i at u r kota yang
1965. 6 Keter tarikan Tintin pada kehidupan
ru m i t . T i n t i n m e n i k m at i p ro s e s p e n ciptaan
Sobron yang merupakan korban stigmatisasi
ya n g s e r ba taktil , se rb a te rh itu n g da n r i nci .
bukan sekadar kebetulan. Tintin per nah selama
Te m p e ra m e n a r t i st i k s e m a c a m i t u menonjol
berpuluh tahun menyimpan cerita tentang
p ad a karya - ka r ya nya ya n g l a i n d i kemud i a n ha r i .
kakeknya yang diculik dan hilang selama operasi pengangkapan dan pembantaian
Inva s i o n ( 2 0 0 8 ) a d a l a h ka r ya ya n g menandai
para aktivis kiri dan kaum komunis oleh
awa l keter l i b at a n T i n t i n ke d a l a m tema yang
p emer i nt a ha n Ord e Ba ru. 7
i a m a s i h te ku n i h i n g g a s a at i n i . D a l am instalasi k i n et i k i n i T i n t i n j u g a m e n go l a h b e nda-benda
Da la m ref leksi nya , Ti nt i n j uga memah ami ‘batas’
ke s e h a r i a n s e m a c a m s i let , ke r t a s dan benang
sebagai sebagai persoalan yang berhimpit
b a g a i ka n s e o ra n g p e n g ra j i n . Ta p i yang lebih
dengan per tanyaan-per tanyaannya tentang
p e n t i n g d a l a m ka r ya nya a d a l a h e le men-elemen
identitas. ‘Batas’, seper ti dalam konteks
ya n g m e n g ko n otasikan p e rso al an ident i t a s.
perbatasan negara , misalnya , menentukan
S e j u m l a h l aya n g - l aya n g ya n g m e n g gantung
wilayah yang kita pijak berpijak dan sekaligus
d a l a m ka r ya i n i te r b u at d a r i ke r t a s -ker tas
status kita (sebagai ‘lokal’ atau ‘asing’) ketika
s a l i n a n d o ku m e n le g a l s e j u m l a h a n ggota
b era d a d a la m seb ua h rua ng f i si k . H aru s diaku i,
ke l u arg a nya . M e re ka te rg a n t u n g d engan
p enga la ma n Ti nt i n b er p i nd a h tempat tin ggal ,
u n t a i a n - u n t a i a n b e n a n g b e r wa r n a merah yang
dan bepergian untuk mengikuti banyak pameran
te r h u b u n g d e n g a n s e j um l a h p ot d i lantai.
dan residensi di sejumlah negara—melintasi
Ad a kete g a n g a n ya n g m u n c u l ket i ka
batas-batas—turut mempengaruhi minatnya
m e nya ks i ka n s i let ya n g m e n g a m b a ng dan
ya ng mend a la m pa da tema tersebut . 8
m a g n et ya n g d i g a n tu n g s e d e m i ki a n rup a ,
Na mun, a li h- a li h mend ekat i p ersoalan ‘batas’
d a n s ewa k t u - wa k t u d a p at m e m u t u skan
dengan parameter geografis belaka , Tintin
re n t a n g a n b e n a n g - b e n a n g ya n g m e nghubungkan
melihat ‘batas’ sebagai bagian dari diskursus
3
T IN TI N Wu LI A IN VA SI O N, 2008 I N STA LASI K I NETI K FOTO ATAS SEI J I N SEN I M AN DAN M I LAN I G ALLERY
ge o p o l i t i s. D a l a m ke ra n g ka i n i ge o g rafi dan
khususnya pada karya-karya yang menampilkan
ke ku a s a an ( p o l i t i k ) d i fa h a m i s e b a g ai dua hal
p et a seb a ga i a i ko n. Nous ne notons pas les
ya n g s a l i n g m e m p e n g a ru h i d a n s a ma-sama
f leurs (siklik , 2009-2012), misalnya , adalah
m e n e n t u ka n c a ra - c a ra o ra n g b e r p i kir dan
instalasi berbasis peta yang melibatkan para
b e r t in d ak keti ka b e r h a d a p a n d e n g an b at a s.
audiens yang ber tindak sebagai e ksekutor ka r ya . Di s e j um la h kot a , Fle urs diwujudkan
S a l a h s at u ka r ya awa l T i n t i n ya n g l angsung
dengan material-material efemeral yang
b e rs e n t u h a n d e n g a n te m a b at a s ge opolitis
b er b ed a - b ed a sep er t i b unga d a la m pot ,
ad a l ah ( Re ) C ol le ction of Togeth er n es s (2008).
rempah-rempah dan bebatuan berwar na-war ni
I n st a l a s i i n i m e n a m p i l ka n p a s p o r- p aspor
yang dikonstruksikan di lantai menyerupai peta
t i ru a n d e n g a n h a l a m a n - h a l a m a n yang dipenuhi
batas-batas dunia . Penonton diundang untuk
g a m b a ra n b a n g ka i nya m u k d a n n o d a-noda
berpar tisipasi dengan cara membentuk kembali
d a ra h — s e b u a h p e l i n t i ra n i ro n i s d a n cerdas dari
bagian-bagian peta tersebut manurut rute
a s a s i u s s a n gu i n i s. Pa s p o r a d a l a h representasi
perpindahan dan mobilitas sehingga bentuk
d ari e n t it a s ke ku a s a a n ya n g ko m p leks:
akhir karya secara menyeluruh—baik kontur
i a m e m b e b a s ka n s e b a g i a n ke lo m p o k orang
luar dan batas-batas dalam peta itu—berubah
u n t u k b i s a d e n g a n m u d a h b e r p i n d a h tempat
d a r i rep resent a si ka r to gra f i s ya ng u mu m.
m e l i n t a s i b at a s - b at a s n e g a ra . Ta p i untuk s e b a g i a n ya n g l a i n i a j u g a a d a l a h d okumen
Dalam peta yang membagi wilayah antara
ya n g m e n ge ka n g s e s e o ra n g d e n g a n identitas
negara , batas-batas selalu mengandung
kewa rg a n e g a ra a n d a n b e r b a g a i re gulasi resmi
dimensi legal and for mal yang me ndefinisikan
ya n g s e c a ra s e r t a - m e r t a te r m a k t u b di dalamnya
kedaulatan ekonomi dan politik suatu
( m i s a l nya : l a ra n g a n m e m i l i k i p a s p o r ganda
bangsa , misalnya: sumber kekayaan alam
u n t u k wa rg a n e g a ra I n d o n e s i a , at au untuk
dan status kependudukan warganya . Tentang
b e p e rg ian ke n e g a ra - n e g a ra te r te n tu, d sb.).
hal ini, antropolog Dave Lumenta per nah mengemukakan sejumlah paradoks perbatasan
S e b a g i a n b e s a r i n st a l a s i T i n t i n d i kerjakan
negara . Menurutnya , pembagian wilayah dalam
se b a g ai se r i ya n g s i kl i k , s e ka l i gu s s i te -
peta yang sering digunakan untuk mendukung
s p e c i fi c. Pa s p o r- p a s p o r i t u , m i s a l nya , dalam
stereotip nasionalisme yang hitam-putih
p e rke m b a n g a n nya te l a h ‘ b e r tra n sfo r ma si ’
dan tak mengenal ambivalensi sesungguhnya
b e b e ra p a ka l i : D i s at u ket i ka m e re ka menjadi
tidak memadai untuk menjelaskan dinamika
su su n a n o b je k s e ru p a c olor gr id ; ; l alu menjelma
ekologis maupun realitas sosial budaya
s e b a g a i ob j e k ko n s u m e n ya n g d i t awar-tawarkan
d i wi laya h p er b at a sa n. 9 Orang-orang yang
d a l a m b e n t u k gu n u n g a n b e n d a - b e n da dalam
hidup di sekitar perbatasan boleh jadi memiliki
m e s i n p e n j u a l oto m at i s. Pa d a ke s e mpatan
orientasi ruang dan pola mobilitas yang tidak
ya n g l a i n , p a s p o r- p a s p o r i t u j u g a d i perlakukan
sesuai dengan aturan juridis for mal perbatasan
b a g a i h a s i l ‘ ke ra j i n a n t a n g a n’ ya n g harus diisi
dan teritorialitas negara . Terkada ng mereka
d a n d i j i l i d s e n d i r i o le h p a ra p a r t i s i pan. Bukan
harus melintas batas tanpa ijin. Tapi bukan
se ka d ar va r i a s i ta m p i l a n d a r i s u atu o b j ek ,
berar ti mereka tidak punya kepatuhan atau
ra n g ka i a n at au t a h a p a n d a l a m p royek-proyek
rasa nasionalisme yang dituntut o leh n ega ra .
s e n i T i n t i n s e l a l u m e ru p a ka n p e n gujian kembali
Tindakan-tindakan mereka lebih dipengaruhi
m eto d e p e n c i pt a a n d a n m e d i a s i a r t istik . Hal itu
oleh faktor-faktor tak terduga dan tak bisa
s a n g at re lev a n d e n g a n b at a s s e b a g ai tema yang
mereka tolak , seper ti for masi alam, kemudahan
c o nt i n g e nt, dan sebag ai ko nsep yan g terus-
mobilitas, akses pada sumber-sumber
m e n e ru s b e ra d a d a l a m ru a n g n e go s i a si .
p enghi d up a n, d ll . Kesi mp ula n i t u, s aya k ira , beresonansi dengan gambaran yang didapatkan
T i n t i n j u g a m e m a n fa at ka n m eto d e i nteraktif dan
d a la m ka r ya Ti nt i n, terut a ma Fle urs, di mana
p ar t isip ato r i s d a l a m m e n a m p i l ka n tema ‘ b at a s’,
delegitimasi batas-batas terjadi oleh karena
T INT IN W uLIA ( RE ) COLLECT IO N OF TO G ETHERNE SS - TAHAP 2 , 2008 IN STALASI DAN V IDEO K A NA L T uNG G A L , TA M PA K D ETI L FOTO ATAS SEIJIN SE N I M AN DAN M I LAN I GALLERY
p o l a - p o l a a le ato r i k ya n g j u st ru m e ngaktifkan
tentang keluarga moyangnya yang harus hidup
ke a ge n a n i n d i v i d u m au p u n ke lo m p ok .
d a n b eker j a ula ng- a li k d i a nt a ra du a ‘ru mah’, di Cina dan Bali. Menariknya , cerita itu kini
D al a m Te rra I n c ogn ita , et c etera ( 2 0 09) Tintin
bagai berulang, menjelma kembal i dalam
m e n ge ks p lo ra s i le b i h j au h ko n s e p kar tografi
kehidupan yang ia habiskan antara Australia
d a n p e r m a i n a n . I n i a d a l a h s e b u a h i nstalasi
dan Indonesia selama lebih dari s epuluh tahun
d e n g a n l u k i s a n p et a b u t a d i d i n d i n g yang
terakhir.
d i j a d i ka n a re n a u n t u k au d i e n s — s e bagai ‘a k to r ’ — ya n g te r l i b at d a l a m p e r m a inan
1 0 0 1 M a r ti a n Ho me s terdiri dari tiga pasang
p e n a g aku a n a n d p e m b e r i a n n a m a ter i to r i a l .
instalasi yang dipajang secara simultan
M e l a l u i s i ste m u n d i a n s e d e r h a n a , para
dan ditampung oleh dua ruangan yang nyaris
au d i e n s d i m i n t a u n t u k m e m b a g i - b agi wilayah
identik di Venezia dan Jakar ta . Pasangan
d a l a m p et a , m e n a n d a i d a n m e n a m a i teritori
p er t a ma , N ot Alo ne (2017), adalah karya
m e re ka . S e k i l a s, ka r ya p a r t i s i p at i f ini mungkin
yang memanggungkan kembali ‘re alitas’ yang
m e nye ru p a i a k t i v i t a s m e l u k i s b e rs ama yang
ter mediasikan oleh layar, kamera dan inter net
m e nye n an g ka n . Ta p i u n tu k s e b a g i a n ya ng la i n,
d i rua ng p a mer.11
p ro s e s i n i m u n g k i n b i s a m e n g i n g at kan mereka p a d a c e r i t a - c e r i t a te n t a n g p e n a k l u kan pada
Pengunjung di kedua tempat adalah par tisipan
j a m a n ko lo n i a l , s e ka l i gu s s e j a ra h nya yang gelap
yang mampu menjalin sepasang karya ini
d an b e rd a ra h - d a ra h . D a l a m b a nya k ka r ya Ti nt i n,
ke dalam kesatuan utuh dengan mengaktifkan
ap a ya n g te r l i h at re m e h - te m e h d a n b er ma i n-
mesi n kemb a r resp o nsi f b er b ent u k ku bah .
m a i n j u st ru s e i n g m e nye m b u ny i ka n sesuatu
Koneksi inter net dalam karya ini adalah
ya n g ko m ple ks.
elemen yang sangat sentral . Namun ia tidak semata-mata berfungsi secara praktis
S o a l p roye k i n i
sebagai sistem digital yang menghubungkan
In i b u kan s e b u a h f i ks i i l m i a h : “1 0 0 1
kedua objek , tapi juga sebagai jal an masuk
Mar t i an H om es a d a l a h c e r i t a - c e r i t a tentang
unt uk kemb a li memb i ca ra ka n ‘ b atas’. H ari-
ke l a n g s u ng a n h i d u p,” kat a T i n t i n .10 Meski kita
hari ini inter net dan media digital memang
t a k l ag i m e l i h at a i ko n - a i ko n s e p e r ti p a sp o r,
menghadirkan kemampuan paling canggih untuk
p et a d a n d i n d i n g ya n g i d e n t i k d e n g an kekaryaan
menghubungkan orang-orang di ruang fisik yang
T i n t i n , p roye k i n i tet a p m e n g ko n ot a sikan makna
jauh—kita kadang-kadang percaya bahwa kita
te n t a n g ‘ p e r l i n t a s a n’ d a n ‘ b at a s’, b ahkan dalam
benar-benar tengah berhadapan dengan lawan
p e n ge r t ia n nya ya n g le b i h jau h d a n i ma j i ner.
b i ca ra ki t a ket i ka mela kuka n v i d e o conference.
‘ M a rs’ d i s i n i t i d a k d i te m p at ka n s e bagai suatu
Inter net dianggap sarana umum untuk
to p i k fa n t a s i s e p e r t i d a l a m n a ra s i - narasi
menjelajahi ‘dunia yang tak berbatas’. Namun
ke b u d ayaa n p o p u le r. Ta p i i a b u ka n pula sebuah
benarkah tak ada ‘batas’ dalam komunikasi
a i ko n ya n g m ewa k i l i fa k t a , at au m e lambangkan
inter net? Di dalam dunia yang masih rentan
ke p e rc aya a n T i n t i n p a d a b e r b a g a i kesimpulan
dengan konflik politik—akibat dari apa yang
d a n ra m a l a n s a i n t i f i k te n t a n g ke h i dupan
disebut Tintin sebagai ‘globalisas i yang tidak
m an u sia d i l u a r b u m i d i m a s a m e n d at a ng.
seimbang’—kekuatan inter net tetaplah tunduk
P roye k i n i i n g i n b i c a ra te n t a n g s u atu
pada batas-batas yang ditetapkan berdasarkan
p e r l i n t a s a n m e l a l u i ru a n g d a n wa k t u yang
hukum teritorial inter nasional . Berbagai
‘ nyat a’ d a n ‘ i m a ji n e r ’ s e ka l i gu s.
ka s us p e nye ns o ra n ko nte n, pe m b lokiran situs, peretasan, dsb., pada akhir nya memperlihatkan
Ad a s e j u m l a h m ot i f ya n g m e n d o ro n g Tintin
bagaimana konsep-konsep batas geopolitik
u n t u k m e re a l i s a s i p roye k 1 0 0 1 M a r t i a n Ho me s
tetap berlaku di dunia WWW.12
ke d a l a m fo r m a s i ya n g ko m p le ks. S emua ini b e rawa l d a r i ref le ks i p e rs o n a l nya atas cerita
T IN TI N Wu LI A T E RRA I N CO GNI TA , ET CETERA , 2009 TA M PA K D ETI L FOTO ATAS SEI J I N SEN I M AN DAN M I LAN I G ALLERY
V id e o ka n a l tu n g g a l 1 0 0 1 M a r tia n Ho me s (2017)
4.
Edw i n J urr i ens, Motion and D istor tion, T h e m e d i a i n t h e a r t of Jo m pet d an T intin, I ndo nes i a and t he M a l ay Wo r ld , vo l . 37, no. 109, November 2009, hal . 277-29 7.
5.
Sobron adalah adik kandung DN Aidit , p e m i m p i n Pa r t a i Komunis Indonesia yang dituduh sebaga i d a l a n g d a r i percobaan ‘ kudet a’ 1965.
6.
Percobaan kudeta itu sering disebut seb a g a i G e ra ka n 30 September atau G30 S yang memakan ko r b a n t u j u h orang perwira tinggi militer Indonesia d a n s e j u m l a h o ra n g l ainnya .
7.
Pada masa Orde Baru (1966-1998), ketu ru n a n at au kerabat orang-orang yang diklaim sebag a i ko m u n i s d a n kir i t urut terst igmat isasi. D al am sejumlah kas us, o rang orang ini bahkan tidak dapat dengan mu d a h b e ke r j a d i inst ansi pemer int ah. untuk menghindar i c a p b u ru k d a r i lingkungan sosial mereka , cerita-cerita te n t a n g ke l u a rg a dan kerabat yang hilang atau ditangkap c e n d e ru n g dirahasiakan. Setelah Suhar to lengser, st i g m a i t u m e m a n g sedikit berubah. Namun phobia terhada p ko m u n i s m e hingga sekarang di I ndonesia bel um sep enuhnya lenyap.
8.
Tintin lahir di Bali, kuliah di Bandung, la l u B o sto n d a n Melbour ne, dan sepanjang hidupnya tela h m e n g h a b i s ka n waktu bepergian ke berbagai penjuru du n i a u n t u k berpameran dan mengikuti program resi d e n s i . Pa d a 2 0 0 3 ia mendapatkan status per manent resid e n t s e b a g a i skil led m igrant dari pemerintah Australi a , m e n et a p d i Brisbane hingga sekarang, seraya beker j a u l a n g - a l i k ant ara I ndonesia dan Aust ral ia .
9.
D ave Lument a , Parado ks Perbatas an Ne gara , w w w.kompas.com - 18/10 /2011, ht t p://n as io nal . ko m p as. com/read/2011/10 /18/ 02501490 /Parado ks. Perb atas an. Negara diakses 12 April 2017
te rd i r i d a r i s u s u n a n wawa n c a ra - wawancara ya n g d i p a n g gu n g ka n d a n d i j a l i n ke dalam narasi ya n g b e r l at a r wa k t u m a s a d e p a n . B eberapa p e l a ku yan g t a m p i l d a l a m v i d e o i n i adalah e ks t a h a n a n p o l i t i k d i I n d o n e s i a , kerabat atau ke l u arg a m e re ka , ya ng m e n a ra s i ka n kembali, s e c a ra a k t u a l m au p u n s i m b o l i k ( m elalui Mars s e b a g a i m et a fo r ), p e n g a l a m a n - p e n galaman p a h i t d i d a l a m p e n j a ra , at au ket i ka harus m e n g h a d a p i st i g m a s e l a m a b e r j a l a nnya p ro g ra m - p ro g ra m p e m b e rs i h a n Ko munisme oleh p e m e rin t a h O rd e B a ru .13 I n te ra ks i a ntara karya i n i d e n g a n au d i e n s a ka n te r j a d i d i dalam ruang p a m e r m e l a l u i ka m e ra p e n g i n t a i ya ng secara t a k te rd u g a a ka n m e n aya n g ka n s i s i pan-sisipan fo ota g e, s e o l a h m a s a d e p a n ya n g d i ceritakan d a l a m v i d e o i t u b e rc a m p u r d e n g a n ruang dan wak t u yang nyata . Kar ya U n d e r th e S u n ( 2 0 1 7 ) d a p at d ilihat s e b a g a i re ko n st ru ks i d a r i p roye k p ameran ini s e c a ra m e nye l u ru h . E le m e n u t a m a dari karya i n i a d a l a h t a n g g a ya n g m e n g a n t a r kita ke depan s e b u a h p i n t u , d i m a n a s e b u a h l u b a ng pengintip m e nye d i aka n p e m a n d a n g a n s i m u l a si dari kamar ke r j a s e o ra n g s e n i m a n . S e p e r t i m e ngintip p oton g a n - p oto n g a n m a s a l a l u d a r i p a mera n i ni , k i t a m e l i h at c o rat - c o ret ka s a r p a d a buku sketsa d a n s e b u a h p rotot y p e ya n g g a g a l , yang segera m e m b e n t u k h u b u n g a n s a l i n g - s i l a n g dengan d u a ka r ya l a i n d i d a l a m p a m e ra n . Tapi siapakah s u b j e k d a l a m p a m e ra n i n i j i ka m at a-mata p a d a d in d i n g a d a l a h m ata - m ata ki ta send i r i — m at a - m at a p a ra p e m a n d a n g p a m e ran? Melalui p e r t u ka ra n p o s i s i , n a ra s i , ru a n g d a n waktu yang d i b i a r ka n te r f ra g m e n t a s i s e c a ra n o n-linear, kali i n i T i n t i n Wu l i a te n g a h m e nyu gu h ka n kepada k it a p e r m a i n a n te n ta n g ‘ b ata s’.
1.
H e n d ro W i ya n to, Cros s ing t he Borde r of “ Hom e”, catalogue of Rethi nki n g HOME exh i b i ti on , 2016.
2.
Ronny Agu stin u s, Vide o: N ot All Corre ct … , d al am O.K . V i d e o – Ja ka r ta V i d e o Ar t Fe sti va l p ost-event cat alogue, A gu n g H ujatn i ka je n n on g , e d ., Ja ka r ta : Ru angrupa , 2004.
3.
Pe m e r i n tah Indonesia per nah mewajibkan penduduk ket u ru n an etnis Tionghoa di Indonesia untuk memiliki d o ku m e n Surat Bukti Kewarganegaraan Republik I n d o n e s ia untuk mengurus dokumen-dokumen legal l a i n nya . Kebijakan dikriminatif ini diberlakukan sejak 1 9 5 0 - a n , sebagai konsekuensi dari asas ius sanguinis ya n g d i b erlakukan oleh Republik Rakyat China di bawah ke p e mi mpin an Mao Zedon g.
10 . Wawancara pr ibadi, Maret 2017. 11. Secara teknis, inst al asi Not Alo n e merup a ka n pengembangan dar i kar ya kembar Tint in s eb el um nya , T h e Butterf ly G enerator (2012) yang dipajan g s e c a ra s i m u l t a n di Osage G al ler y, Hong Kong dan ZK M , Karl s ruhe, Jer m an, unt uk pameran The G lobal Contemporary, A r t Wo r ld a f te r 1989 ( 2011). Lihat ht t p://w w w. global-co ntem p o rary.d e/en/ ar tists/ 6-tintin-wulia 12. J ack G oldsmit h dan Tim Wu, Who Contro ls th e Inter n et , I l l usions of the Borderless World, New Yo rk , u n i ve rs i t y Press, hal . 49-55. 13. Sebagian besar materi untuk karya ini d i ke m b a n g ka n dari proyek Tintin Wulia bersama Ken Set i awa n ht t p://1 9 6 5 s et i aphar i .o rg Agung Hujatnika alias Agung Hujatnika j e n n o n g a d a l a h seorang dosen dan kurator independen ya n g t i n g g a l d i Bandung, Indonesia . Pameran-pameran ya n g te l a h i a kuratori antara l ain, N ot a D ead- End, B i e n n a le J o g j a - Equator # 2, Yog yakar ta , Indonesia , 2 0 1 3 ; Zo n a C a ir - Bienal Jakar ta AREN A di Galeri N asio n a l I n d o n e si a , Jakar ta , Indonesia , 2009. Pada 2001- 2 0 1 2 i a a d a l a h adal ah kurator utama di S el asar S unaryo A r t S p a c e, Bandung. Pada tahun 2014, ia dinomina s i ka n u n t u k menerima Independent Vision Curatoria l Awa rd d a r i Independent Curator Inter national (ICI), N ew Yo r k. Agung memperoleh gelar doktor dari In st i t u t Te k n o lo g i Bandung (ITB) di Bandung, Indonesia , d a n te l a h m e n g a j a r di al mamater nya sejak tahun 2008. Buku nya Ku r a s i d a n Kuasa diterbitkan oleh Dewan Kesenian Ja ka r t a (2 0 1 5 ).
