Cemeti Art House

 

Cemeti – Institut for Art and Society

 

What is the nature of the organization, for how long has it been around and what are its set goals?

 

Cemeti Art House was founded in 1988 by Nindityo Adipurnomo and Mella Jaarsma in Yogyakarta, Indonesia. Since then, Cemeti Art House has been actively promoting and stimulating art practices in the contemporary Indonesian art scene and wider international platform. As well as art discourse and art management.

 

What kind of events have you ever done?

 

Various projects, such as site specific, community based exhibitions, presentations, and performances involving local and foreign artists, writers, and art activists, have been realized each year. Artist’s talks, project presentations and group exhibitions are presented locally and internationally, as well as our monthly self-curated exhibitions at our space.

 

 

What kind of expectations do you have for the development of local contemporary art?

 

Contemporary art in Indonesia can be seen as a form, concern, view and reflection of artists to the issues that is developing in the society. Through their works, artists are responding and depicting general phenomena in the society, while other’s expressing individual and personal approaches to the reality. Therefore, Cemeti Art House is developing a platform in which activities revolve around and focus on reinventing ‘Art and Society’, emphasizing more alternative art practices that honor the process, rather than the promotion. Given the platform re-prioritizing 'Art and Society' practices, in 2010 Cemeti Art House offers residencies for artists, curators and multidisciplinary researchers.

 

Now in its 30th year, Cemeti’s artist founders Nindityo Adipurnomo and Mella Jaarsma, have stepped aside from the day-to-day running of the organization, staying on to guide and advise as chairs of the board. As a new team takes the helm, we want to take a moment for public reflection, thinking collectively with you about the possible futures of Cemeti. Part of this process is the changing of Cemeti’s name from Cemeti Art House to Cemeti - Institute for Art and Society. Our new subtitle takes as a starting point the idea of “instituting” as a collective social process in which we find forms for shared urgencies and ideologies.

 

 

Please, describe briefly your organization. Are all members artists? 

Only the founders are artist; Nindityo Adipurnomo and Mella Jaarsma.

Cemeti team

Alec Steadman: Co-Chief Curator

Dimaz Maulana: Archive & Documentation Manager

Linda Mayasari: Director

Sanne Oorthuizen: Co-Chief Curator

Sarono: night guard and technical support

Theodora Agni: Residency Manager

Wahyu: night guard and technical support

Cemeti board

Alia Swastika

Joned Suryatmoko

F.X. Harsono

Mella Jaarsma

Nindityo Adipurnomo 

 

 

Do you have a space? Is it open for everyone to visit? 

Yes. We are open on Tuesday – Saturday, from 9 AM to 5 PM.


 

Website: www.cemeti.org

http://www.cemetiarthouse.com/index.php?&lang=en

Tel/Fax: +62 274 371 015

Mobile: +62 81 2273 3564

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Address: Jl. D.I. Panjaitan 41 Yogyakarta 55143 Indonesia

RELATED

  • 2018 09/09 - 2018 09/30
    Nanyang Radio Station: Audio Tour for 228 Peace Memorial Park

    Audio Tour for 228 Peace Memorial Park

    “ Through these narrators and the audio guide on the New Park/228 Memorial Park, I would like to propose a way of imagining worldview from listening to personal narratives of the displaced. " (Syafiatudina)


    During her residency in Taipei, Syafiatudina has been looking for archives and references on the connection of Indonesia and Taiwan, both historically and contemporary. This search had brought her to museums and libraries. She has been flipping through books about the Dutch and Japan colonial regime in Taiwan while tried to compare it with the colonial time of Indonesia. Though the archives and references on Taiwan-Indonesia connection are not only stored in library and museum. The narrations of the two regions’ relation are embedded, yet also fragmented, in the city landscape and its inhabitants. In this regard, she has developed interest on the Taipei’s New Park (or what’s known now as 228 Memorial Park) because of its historical and political significance which spans through different regimes in Taiwan up until now.

    Nanyang Radio Station: An Audio Guide for 228 Peace Memorial Park" was proposed as an audio guide for KUNCI Radio in November 2017, by Indonesian artist Syafiatudina of NML Residency & Nusantara Archive Project. In 2018, Nusantara Archive and OCAC co-curate the exhibition PETAMU Project in which her original scripts of the audio is interpreted into the real guide, and Wu Ting-Kuan (Taiwan), Linda Linarta (Indonesia), Au Sow-Yee (Malaysia) are invited as the voice-overs for the guide, along with bilingual guide tours collaborating with National Taiwan Museum during the exhibition. The text were based on the artist's research the knowledge sourced during the residency, including the passage regarding the activists of "No Outsider" witnessed on International Migrants Day in December 2017.

    Organizer : OCAC, NML Residency & Nusantara Archive Project
    Co-organizer : National Taiwan Museum

     

    ("English Guide" session)
    ღ Event Time : 9/9 (SUN) , 9/30 (SUN) 2:30 PM
    ღ Meeting Point : Exit 4 of National Taiwan University Hospital Metro Station
    ღ Registration Link: https://goo.gl/uhwsxS

     

  •  

    Ruangrupa is a contemporary art organization founded in 2000 by a group of artists in Jakarta. As a nonprofit organization, it works to advance art ideas in urban context and the broad scope of culture through exhibitions, festivals, art laboratory, workshops, researches and book, magazine, and online journal publications. In 2015, Ruangrupa alongside..

back to top

Alternative Space? Artist-run Space?
Alright, so today we have reached an understanding that “alternative space” has merely a historical connotation left, whereas “artist-run space” cuts directly to the chase, but still nothing is explained through these terms. We suggest a temporary halt on the investigation of terminology. The significance lies in what we do, what we did and what we will be doing next.

So what have you been up to?
In short, we practice art and curate exhibitions. When able, we also organize forums, launch publications and initiate projects for international artistic exchange. If you haven’t the time to read the brief introduction on the back, all you need to remember is this: our job is to generate new dialogues between art and the public and to offer the world something different for a change, or at the very least, we try our best when making mistakes.

Why not simply focus on practicing art?
It’s not that simple. In fact, there is no such thing as simply practicing art. Contemporary art and its viewers have broken away from the monotonous relationship of simply paying a visit to the museum. Whether people are aware of it or not, art has undoubtedly permeated into every aspect of our lives. Therefore, a genuine art practitioner would not shy away when met face to face with genuine public issues. We simply want to do it better.

Where does your funding come from?
Unemployment subsidies. That was a joke. We operate with funds which come from our own pockets and occasional help from limited government funding—translation: we are often short of cash.

Are all members artists?
We were founded as an artist-based organization, but are delighted to have recruited more and more members from interdisciplinary professions in recent years. As for the artists, you may still catch a glimpse of them from time to time carrying a spear and shield, riding a scrawny horse and followed around by a fox hound.

Can I join?
Certainly, you are most welcome to join us. Please note, however, this is not a recruitment ad. Despite our wish to recruit more like-minded friends, we hope that all potential members first try to understand our situation before participating in anything. Acknowledgement of the process is in itself an important form of participation, which means that everything you imagine could be possible. In other words, we would love your attention starting from now.

How does one follow you?
This is an important question but extremely easy to achieve. Simply follow these steps:
(1) like us on Facebook http://www.facebook.com/opencontemporary
(2) e-mail us at [email protected];
(3) visit us and chat with us whenever

you’re free. You may even receive a cup of freshly brewed coffhee.

Do you accept donations?
Please don’t ask, just act!