Encouraging a nuanced exploration of collective memories
By Ian Tee

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Indonesian artist Maharani Mancanagara here.

In 2013, you graduated from Bandung Institute of Technology (ITB), with a Bachelor in Fine Arts majoring in printmaking. Could you describe your experience (the education you received and cohort you interacted with)?

I studied fine arts at ITB, focusing on printmaking. What I learnt there has become the foundation for my work now. The people that I met there became my fellow colleagues in the art world.

I grew up in Bandung's art spaces from 2008 to 2013. These areas are vibrant and offer several opportunities for creative and networking engagement. Our lecturers encouraged us to become accustomed to creating exhibitions from scratch and to showcase every completed work from our assignments.

Recognising that opportunities in the field of fine arts do not come by chance, after I graduated in 2013, my colleagues Muhammad Ady N, Antonio S and I launched Bandung Contemporary, a series of exhibitions that showcased 35 young artists. It unfolded across eight venues in Bandung: two group exhibitions in Selasar Sunaryo Art Space and Lawangwangi Creative Space, and six solo exhibitions at Kamones Workshop & Gallery, Institut Francais Indonesia - Bandung, Platform 3, Galeri Gerilya, Rumah Seni Sarasvati, and Galeri Hidayat. The exhibitions ran from 22 October to 12 November 2013, and was our launch pad to the professional art world.

Who has been a mentor or an important artistic influence? And why?

I adore the work of Rushdi Anwar. His works reflect on the issues that continue to mire West Asia’s geopolitics, from the perspective of his personal experiences of displacement, conflict and trauma endured under Iraq’s colonial and ideological regimes.

Nurrachmat Widyasena, my husband and fellow artist, is a sparring partner and the biggest influence in my art-making process. We carry out a lot of discussions and critiques of daily anxieties, work ideas, aesthetic considerations, creative explorations, in the works we produce.

What was one important piece of advice you were given?

One of my college lecturers, Tisna Sanjaya, who is not only an educator but also an important artist, once expressed that all our artistic endeavours are remarkable. To illustrate this point, we encountered some artworks that were noticeably lacking, and he chuckled, saying, "This is also eccentric and outstanding work!"

This led us to ponder: what constitutes good work? Is it the conceptual aspect? What about its visual elements? What defines success? Mr Sanjaya emphasised that every creation possesses its own brilliance; the key is to discover the ideal context for each work. He added that all of the works are incredible, you simply need to find the perfect place for your work. The world is vast, the path is long, and we will find our way, and that we have to be patient.

Initially, I stored this sentiment in my memory without giving it much thought. However, as I navigated the unpredictable terrain of the art world, that piece of advice became a source of encouragement, helping me persist and remain motivated.

A look behind the scenes at the production process for ‘Sasana Gelung’, 2022. Image courtesy of the artist.

Do you make a living completely off being an artist? If not, could you share what other types of work you take on to supplement your income? Do these activities also inform/ affect your practice?

I do not depend solely on the income generated from selling artwork or artist fees. To supplement my earnings, I frequently take on various types of work such as artwork commissions, managing a public art space, and being part of a private art agency in Bandung. I aim to create a balance by selecting side jobs that coincide with my artistic practice, so that I can learn and integrate all of these explorations into my work.

What are approaches that have worked in managing your time between this job and your studio practice?

I work three days a week at the office, and spend the rest of the week at the studio house. I also organise my time using a classic daily planner pocket notebook.

It is important to be realistic about my ability to complete tasks in the given time frame. I must realise my boundaries and be willing to decline further obligations when the calendar does not allow it, even if it is difficult to say no. This helps to avoid burnout. When I have the option, I delegate work that others can handle so that I may focus on my core responsibilities. I do this in both my administrative position and in my studio practice. In addition, I evaluate how I manage my time on a regular basis and make changes as appropriate. Reflecting on my productivity can aid in the identification of areas for improvement.

Maharani Mancanagara, ‘Political Dance’, 2016, charcoal on wood puppet, wood base and electronics, dimensions variable. Image courtesy of the artist.

You are best known for using different types of wood as material support on which you create images with charcoal or acrylic paint. Why is this your material of choice? What does it offer which other mediums cannot?

Tisna Sanjaya first introduced me to wood materials when I was in my second year of college. The study of printmaking was very closely tied to paper as a printing medium, but I did not feel any connection to this material.

One day I was unexpectedly invited to tour the city of Bandung with Tisna Sanjaya in his new car. We discussed the origins of paper and my difficulty with this material. We also stopped at various tree-felling spots and places where we could drop discarded items. The next day, Tisna Sanjaya brought me a pile of used wood and assigned me the challenging task of transforming the material into something meaningful that I could relate to.

I found that wood is a versatile material that can be shaped, carved, or treated in various ways. Many may appreciate the flexibility it provides, allowing them to experiment with different techniques and create unique effects. Wood often has a distinctive texture and grain, which can add depth and character to artworks. The natural patterns in the wood can become integral to the composition, influencing how the medium interacts with the surface.

I discovered a meaningful connection when my ideas drew inspiration from significant events in my family's history. In particular, wooden slats possess a distinct colour that evokes memories of the past for me. Wood carries connotations of heritage, tradition, and longevity, mirroring the enduring qualities of familial bonds. Additionally, its texture, colour, and unique characteristics may evoke memories of shared spaces, family gatherings, or the tactile elements of a cherished family home.

Maharani Mancanagara, ‘Hikayat Wanatentrem’, 2018, installation view in ‘Zero Sum Game’ (2018), at Galeri Soemardja, Bandung. Image courtesy of the artist.

Maharani Mancanagara, ‘Hikayat Wanatentrem’, 2018, installation view in Sharjah Biennial 15 (2022). Image courtesy of Sharjah Art Foundation.

‘Hikayat Wanatentrem’ (2018) is a mixed media installation that has been presented on a few occasions, at your second solo exhibition ‘Zero Sum Game’ (2018) and most recently at Sharjah Biennial 15 (2023) curated by Hoor Al Qasimi. What is the premise behind ‘Hikayat Wanatentrem’? And what are your thoughts/ feelings about re-staging the work in the Sharjah Biennial (has your relationship with the work changed?)

I was born and grew up in Indonesia in the 1990s during the New Order era, when the government controlled the narrative around the genocide that happened in 1965 and 1966. I recall having to see a movie about the 30 September Movement, or G30S, called 'Pengkhianatan G30S' (Treachery of G30S) on the national television channel every year when I was in school. We learn to despise those who support the Communist Party through film and history classes at school.

That all changed in 2013, when I discovered in a family archive some of my grandfather's private diaries in which he wrote about the event from his perspective. I had not known my grandfather's story or what he was doing for a living. No one in the family told me about his story, especially his time in G30S, because conditions at the time were unsafe for anyone who spoke about G30S other than the government version of history.

In 2018, I made an exhibition titled ‘Zero Sum Game’ with curator Sally Texania at the Soemardja Gallery on ITB campus. This exhibition summarised my findings and shared different historical perspectives through a metaphorical folk tale that I made titled ‘Hikayat Wanatentrem’ (Tale of Wanatentrem). The folk tale is presented through an installation that includes an illustrated book for adults and children, a mural, a constructed island, a wooden drawing containing several chapters from the storybook, and a wooden puppet for a storytelling performance.

In crafting this series of work, my intention is to offer alternative perspectives that invite viewers to reimagine how they perceive narratives embedded with memories from diverse individuals. The impact of this creative endeavour is multifaceted, aiming to transcend conventional storytelling and encourage a more nuanced exploration of collective memories. The desired outcome is a heightened awareness of the richness and complexity within shared stories, fostering a deeper connection among audiences as they engage with the narrative tapestry.

Survivors of the 1965-66 genocide and their families had to suffer in silence for more than 50 years. Though unresolved, it may not mean that the episode is forgotten. Human rights violations from 1965 to 1979 went on trial in the International People's Tribunal in 2015 in The Hague, Netherlands. Evidence from survivors, defendants, and witnesses had entered the hearings, resulting in several appeals that the Indonesian government should have enforced. But after all these years, one might ask whether the trials only served as false hope.

As the third generation of a victim’s family, I still believe that it is important to share “the other perspective of the story” in addition to what we learn from academics. I believe every country has their own history, whether it is good or bad, light or dark. I think it is important for me to pass this story to a wider audience, to the next generation.

“As the third generation of a victim’s family, I still believe that it is important to share “the other perspective of the story” in addition to what we learn from academics.”

Maharani Mancanagara, ‘Testimonial Objects’, 2023, exhibition view at Art Jakarta 2023. Image courtesy of the artist.

Maharani Mancanagara, ‘Lip Lap #3’, 2023, charcoal on wood, 59 x 98 x 4cm (in configuration). Image courtesy of the artist and Warin Lab Contemporary.

The space of the museum and its power to shape the stories of objects is at the core of your latest solo presentation ‘Testimonial Objects’ (2023) with Warin Lab Contemporary at Art Jakarta 2023. Can you talk about your interest in the topic of repatriation as well as the choice of objects in this new series?

In 2015, I participated in a group show called ‘Aku Diponegoro’, which was a response to Raden Saleh's artwork ‘The Arrest of Diponegoro’. The exhibition also included personal items from Prince Diponegoro which were returned to Indonesia from the Netherlands. My interest in repatriation was piqued by this show. Why are so many Indonesian kingdoms' objects in the Netherlands? How is the item travelling? How should it be cared for? Is the museum capable of preserving the object? How can the authenticity and integrity of these artefacts be determined?

In my presentation ‘Testimonial Objects’ with Warin Lab Contemporary at Art Jakarta 2023, I questioned the museum as a contested zone. It was inspired by the ongoing topic of repatriation, in which Indonesian historical relics are in the process of being returned from numerous museums in the Netherlands. While repatriation is undeniably important, focusing entirely on repatriation risks reducing the contestation of history to a basic claim of ownership, which strengthens nationalist and populist narratives.

In ‘Testimonial Objects’, a selection of artefacts from the National Museum of Indonesia are recreated using recycled wood, providing a tangible representation of how changes in ownership continually reshape and rejuvenate the meanings associated with these objects. The museum's process of acquiring objects often involves affirming narratives that conceal the harsh realities witnessed by these artefacts in silence. The cabinet of curiosities serves as a catalyst for a meticulous examination of the migration of objects through various ownerships and modifications, essential considerations in the context of repatriation.

My work aims to spark a conversation about the significance of provenance, a crucial stage in the repatriation process. Provenance involves extensive efforts to trace the origins of museum collection objects, scrutinising their journey through ownership changes and evaluating the ethics of these transitions. This attention to provenance can bring a restorative dimension to historical narratives that may be overlooked by nationalist and populist perspectives.

I juxtaposed everyday objects with valuable Nusantara collections, challenging the hierarchical narratives within public museums. This intentional equalisation serves as a critique of narratives that highlight the dominance of the feudal middle-class in national history while marginalising grassroots narratives. The artwork prompts contemplation on the role of museums as platforms for cultivating critical knowledge.

“This attention to provenance can bring a restorative dimension to historical narratives that may be overlooked by nationalist and populist perspectives.”

Working as a volunteer on the Condition Report Project at Selasar Sunaryo Art Space, 2012. Image courtesy of Selasar Sunaryo Art Space.

Could you share your favourite art space or gallery in Bandung/ Indonesia? Why are you drawn to that space and what does it offer to you/ your practice?

My formative years were immersed in the vibrant art scene of Bandung, where I discovered the remarkable exhibitions hosted at Selasar Sunaryo Art Space (SSAS). This cultural haven provided me with an invaluable education that extended beyond the confines of my formal schooling.

Also, I find inspiration and stimulation at Indeks, a visionary artist space founded by Rizki Lazuardi and Dian Arumningtyas. In particular, Indeks has broadened my understanding of video art and other multidisciplinary independent works. The dynamic atmosphere of Indeks has become a nurturing ground for diverse artistic approaches, fostering an environment where creativity thrives and boundaries are pushed.

What are your hopes for your own local art scene, and regionally as well?

Many practitioners hope for increased support from governments and institutions. This could involve transparent and fair funding for the arts, policies that promote cultural initiatives, and the establishment of art spaces and museums.

Support for emerging artists is crucial for the growth and vibrancy of the art scene. This can come in the form of mentorship programmes, affordable studio spaces, exhibition opportunities, and grants to help artists establish themselves. Equally important is a local art scene that is diverse and inclusive, representing a wide range of voices, perspectives, and artistic styles. This includes supporting artists from various backgrounds, ethnicities, genders, and experiences.

We also aspire for Indonesian art to gain more recognition on a global stage. This involves creating opportunities for artists to showcase their work internationally and for the local art scene to contribute to global cultural conversations.

Maharani Mancanagara, ‘Parodi Partikelir’ series, 2017, exhibition view in ‘Geopoetics: Changing Nature of Threatened Worlds’, National Museum of Fine Arts, Taichung, Taiwan. Image courtesy of the artist.

Are there any upcoming exhibitions/projects that you would like to share?

In December 2023, I participated in a group exhibition titled ‘Geopoetics: Changing Nature of Threatened World’, curated by Patrick Flores, Kim Seong-Youn and Hsieh Pei-Chun. This exhibition shows artworks from 15 artists from Taiwan, Korea, Japan, Thailand and Indonesia.

I showed three works from a previous series ‘Parodi Partikelir: An Individual Freedom of Interpreting Story’ (2017). ‘Parodi Partikelir’ is a project that acts as a portal into the notebook of my grandfather, whom I have never met. This notebook roused my interest in meeting other people who have similar stories, and I began reading memoirs, propaganda books, as well as watching independent films to learn more about the gap in history. I had the opportunity to visit the Koblen prison, which had been constructed to accommodate Japanese soldiers after Indonesia's independence between 1946 to 1948, but was later repurposed to shelter political prisoners during the 1965 event.

The interview is edited. Read other Fresh Faces interviews here.

‘Geopoetics: Changing Nature of Threatened Worlds’ is on view at National Museum of Fine Arts, Taichung, Taiwan, from 2 December 2023 to 10 March 2024.