At the end of 2021, twelve art collectives across the regions all over Indonesia agreed to create an experimental network called Lumbung Indonesia. This initiative was projected as a forum for mutual support and resource sharing among the art collectives involved in it.
Lumbung Indonesia has been trying to keep questioning power relations, and to think about and seek to distribute the surplus that it has among fellow art collectives in need, especially in regions with limited access to certain resources. The art collectives involved in it are also able to develop a common art space to combine artistic strategies and programs that are oriented towards public interests, network building, and practices rooted in their respective regions.
Another thing that Lumbung Indonesia wants to achieve in the future is a just form of economy incorporated into effective artistic practices through an imagination and an adoption of a new way of life, ecosystem, and organization that are more just, human, and comprehensive. Therefore, Lumbung Indonesia focuses its artistic practice on experimentation of collective activism, economics, education, ecology, and spatial imagination—in urban, rural, and public spaces.
After organizing Majelis Akbar (2021) and Lumbung Kelana Residency (2022), there had been a desire to continue the journey by holding the Indonesian Lumbung Festival. Then an artistic presentation was scheduled to take place in Kassel, Germany, within the framework of documenta fifteen. This book’s publication is a part of that journey.
To begin this book, Dwiki Nugroho Mukti writes a note about the formation of Lumbung Indonesia in an FGD held by twelve collectives’ representatives. Two concerns when Lumbung Indonesia was created were how the collectives’ economics could support artistic-esthetic work to maintain their existence and how residency program was initiated not only within a managerial framework and for artistic work purposes, but also as an opportunity to share potentials, capital, and issues among the collectives. These two questions then became the basis for realizing an exchange called the residency program Lumbung Kelana.
The next section of the book contains records of the meetings and processes taking place among representatives of each collective while participating in Lumbung Kelana. One can see how, through this kind of exchange, dialogues and interactions happen between resident artists and host artists, citizens, and sites in natural and cultural landscapes, enriching their experience during the residency. Whether in sketch, photograph, journalling, catalog, curatorial note, or quote, these records in various “harvesting” formats present tremendously rich and specified intersectional ideas, knowledge, skills, observations, reflections, criticisms, and discussions. This spectrum of diverse realities, with all the problems and modalities from various dimensions of life of each collective, is crucial as a starting map to identify opportunities that can be optimized in the works of Lumbung Indonesia and intercollective networks in the future.
Finally, we would like to express our gratitude to all those who have assisted in the realization of this book, and also to the German Federal Foreign Office and the Goethe-Institut through the 2021 International Relief Fund for Organisations in Culture and Education, allowing us to organize Lumbung Indonesia programs and activities, and not to forget the German Embassy in Jakarta for their support for the first offline Majelis Akbar of Lumbung Indonesia.
Next, our deepest gratitude goes to Gudskul Ekosistem for their assistance, providing the meeting space for the participating collectives of Lumbung Indonesia: Forum Sudut Pandang (Palu), Gelanggang Olah Rasa (Bandung), Gubuak Kopi (Solok), Hysteria (Semarang), Ketjil Bergerak (Yogyakarta), Komunitas KAHE (Maumere), Pasirputih (North Lombok), Rumah Budaya Sikukeluang (Pekanbaru), Serbuk Kayu (Surabaya), SIKU Ruang Terpadu (Makassar), Sinau Art (Cirebon), dan TROTOARt (Jakarta). Without each collective’s committed work and spirit to share, Lumbung Indonesia would never exist and prosper as an organization.
May this book be a milestone in Lumbung Indonesia’s momentum of birth and growth. Let’s celebrate this documentation of the first harvest of each collective that fills Lumbung Indonesia with all their creativity, knowledge, problems, and visions of shared growth in the future.
Description:
At the end of 2021, twelve art collectives across the regions all over Indonesia agreed to create an experimental network called Lumbung Indonesia. This initiative was projected as a forum for mutual support and resource sharing among the art collectives involved in it.
Lumbung Indonesia has been trying to keep questioning power relations, and to think about and seek to distribute the surplus that it has among fellow art collectives in need, especially in regions with limited access to certain resources. The art collectives involved in it are also able to develop a common art space to combine artistic strategies and programs that are oriented towards public interests, network building, and practices rooted in their respective regions.
Another thing that Lumbung Indonesia wants to achieve in the future is a just form of economy incorporated into effective artistic practices through an imagination and an adoption of a new way of life, ecosystem, and organization that are more just, human, and comprehensive. Therefore, Lumbung Indonesia focuses its artistic practice on experimentation of collective activism, economics, education, ecology, and spatial imagination—in urban, rural, and public spaces.
After organizing Majelis Akbar (2021) and Lumbung Kelana Residency (2022), there had been a desire to continue the journey by holding the Indonesian Lumbung Festival. Then an artistic presentation was scheduled to take place in Kassel, Germany, within the framework of documenta fifteen. This book’s publication is a part of that journey.
To begin this book, Dwiki Nugroho Mukti writes a note about the formation of Lumbung Indonesia in an FGD held by twelve collectives’ representatives. Two concerns when Lumbung Indonesia was created were how the collectives’ economics could support artistic-esthetic work to maintain their existence and how residency program was initiated not only within a managerial framework and for artistic work purposes, but also as an opportunity to share potentials, capital, and issues among the collectives. These two questions then became the basis for realizing an exchange called the residency program Lumbung Kelana.
The next section of the book contains records of the meetings and processes taking place among representatives of each collective while participating in Lumbung Kelana. One can see how, through this kind of exchange, dialogues and interactions happen between resident artists and host artists, citizens, and sites in natural and cultural landscapes, enriching their experience during the residency. Whether in sketch, photograph, journalling, catalog, curatorial note, or quote, these records in various “harvesting” formats present tremendously rich and specified intersectional ideas, knowledge, skills, observations, reflections, criticisms, and discussions. This spectrum of diverse realities, with all the problems and modalities from various dimensions of life of each collective, is crucial as a starting map to identify opportunities that can be optimized in the works of Lumbung Indonesia and intercollective networks in the future.
Finally, we would like to express our gratitude to all those who have assisted in the realization of this book, and also to the German Federal Foreign Office and the Goethe-Institut through the 2021 International Relief Fund for Organisations in Culture and Education, allowing us to organize Lumbung Indonesia programs and activities, and not to forget the German Embassy in Jakarta for their support for the first offline Majelis Akbar of Lumbung Indonesia.
Next, our deepest gratitude goes to Gudskul Ekosistem for their assistance, providing the meeting space for the participating collectives of Lumbung Indonesia: Forum Sudut Pandang (Palu), Gelanggang Olah Rasa (Bandung), Gubuak Kopi (Solok), Hysteria (Semarang), Ketjil Bergerak (Yogyakarta), Komunitas KAHE (Maumere), Pasirputih (North Lombok), Rumah Budaya Sikukeluang (Pekanbaru), Serbuk Kayu (Surabaya), SIKU Ruang Terpadu (Makassar), Sinau Art (Cirebon), dan TROTOARt (Jakarta). Without each collective’s committed work and spirit to share, Lumbung Indonesia would never exist and prosper as an organization.
May this book be a milestone in Lumbung Indonesia’s momentum of birth and growth. Let’s celebrate this documentation of the first harvest of each collective that fills Lumbung Indonesia with all their creativity, knowledge, problems, and visions of shared growth in the future.