Unhistoried

A project focusing on Indonesian family photograph, narrative, and archive as an artefact and alternative source of history. formal, rapih, macak sukses???

persetan dengan tuntutan fashion yang mengada ngada dan terus membodohi kita. PALSU COKK!! if you really are pecinta kenyamanan,join this page! didesikasikan kepada mereka yang telah memperjuangkan kenyamanan daripada KEPALSUAN fashion yang GOBLOK dan merajalela!!

29/08/2024

Domestic Developmentalism (2024)

at Jogja Fotografis Festival
Installation of photographs and archives, various dimensions

Domestic Developmentalism merupakan salah satu dari kumpulan tema besar koleksi arsip Unhistoried yang terangkum dalam kategori "pembangunan dan konstruksi"3. Presentasi ini sedang menelusuri spirit developmentalisme di masa Orde Baru yang rembesannya masuk ke institusi terkecil negara bernama keluarga. Dicanangkannya developmentalisme ini, misalnya, bisa ditemukan pada arsip milik Unhistoried yang memuat potret lanskap pembangunan jalan di wilayah transmigrasi sekira 1970 akhir hingga 80-an.

Sementara pembangunan proyek-proyek nasional skala besar melalui ragam kebijakan pemerintah berjalan, para keluarga turut berduyun-duyun 'membangun' institusinya berupa rumah lantas mendokumentasikannya. Kumpulan arsip foto keluarga yang ditemukan ini dapat dibaca sebagai gejala capaian di ranah domestik yang sejurus dengan cita-cita pembangunan Orde Baru menuju kestabilan melalui developmentalisme. Dengan kata lain, arsip foto keluarga yang kerap dianggap sekadar dokumentasi domestik sederhana ini sedang menawarkan cara pandang dari jalanan (street view) atas peta kompleks berjalannya suatu negara.

04/01/2024

After Museum, After History (2023)
Installation of fabric, ready-made object, found object
various dimensions

Jogja Biennale 2023. Monumen Bibis, Bangunjiwo, Bantul.

Museums and monuments are one of the primary mediums of indoctrination and fabrication of historical narrative. They are not just physical structures present in public spaces, but also accompanied with myths which deeply embodied within the subconscious, also shaping the memory and cultural landscape.

Since the fall of the New Order regime a quarter of a century ago, the relevance of historical narratives may begun to erode. Some museums and monuments have started to be neglected and left uncared. The regime's narrative may have been worn down, but it is not entirely extinct. It has transformed into ghosts that wander within the core system and history, intangible but enfolding, past yet significantly gripping.

This work aims to display distortions regarding the (function of) museum and 'historical' objects by revealing the veiling or myths. We respond to one of the rooms in Monumen Bibis by rearranging and treating the collections in this mini-museum in a particular way. Through the appearance of these veilings, we visualize the vulnerability, obscurity, and distortion within the centralistic narrative of the regime which often glorifying certain parties.

Shifting the focus from the grandiose concept of nationalism about the 'homeland' (tanah air), this installation attempts to surface a micro narrative about the 'land' (tanah) and 'water' (air) in Bangunjiwo, as the source of livelihood for the residents. The opening of the mini museum space that has been closed for the past few decades becomes a metaphor of the effort to reclaim the history writing, as well as an initial attempt to expose the small narratives which are often overshadowed by centralistic historical writing.

14/11/2023

ANATOMI JEJAK (Anatomy of Traces), 2022

Curatorial work for

The evolution of Padepokan Seni Bagong Kussudiardja, from Bagong's early exploration to the establishment of PSBK in 1978 and beyond, marks a significant chapter in Indonesian arts, showcasing the intricate network of collaborative forces behind it. The PSBK's growth involves a dynamic process where leaders negotiate, members support each other, and contributions progress in tandem. This process, more than a simple two-way symbiosis, is a continuous adaptation and negotiation with space and time. Rooted in the awareness of preserving transmitted traces, archiving becomes a crucial effort to record the work's imprints, providing a lasting legacy for the Padepokan. Despite thousands of archives collected, recorded, and processed within, the extensive coverage and varied sources often present a somewhat unclear picture of the external world.

Regarding the symbiotic working process among actors and the extensive coverage and variations of archival sources, 'Anatomi Jejak' focuses on two main goals; First, observing the constellation of organisms negotiating and adapting to extend the life and move the large umbrella of the Padepokan. Second, exploring the potential of archival material to review the image of an era from records about the Padepokan.

The PSBK archive extensively documents activities, particularly during the New Order era concurrent with the PSBK's official establishment in 1978. While there are some pre-era documentations, they pale in significance compared to those post-PSBK's establishment. The focus lies on Padepokan members' activities, offering vague glimpses of the outside world, serving as marginal notes capturing societal conditions and the zeitgeist. Notably, state institutions' archives hint at Padepokan's connection to the external world. Utilizing visual archives like photos and videos, this projection work seeks to represent two eras from a New Order perspective, emphasizing its nationalist myths, technological advancements, and Indonesia's beautiful portrayal. While at the same time, an event marking its birth remains concealed and taboo for discussion.

13/07/2023

In February 2021, we joined the mini residency program held by . During the program, we challenge our archiving practice not to focus only on Indonesian family photographs, and try something we have not done but still using archiving as the method/approach. Though, we found many interesting stories and photographs donated by locals which we have not finished with thousands of archives we found in Dieng and Wonosobo.

Anyway, it turned out that from all materials that we gathered—before and after the residency program—we could finalize a projection and lecture about the technology from the pre-independence of Indonesia, its growth under the New Order developmentalism, and the impact on today's Dieng (agricultural) society, also to mention the narrow pragmatism, a term used by Royyan Julian to describe way of life (survival) disregarding the environmental damage. Other than that, we collected and scanned many fertilizer package waste which are massively spread in the potato farms. Those agricultural waste, we propose, could have the same function as what the ancient temples in Dieng represent. With its long lasting mass production, those plastic waste really signifies the spirit and conflicts of today's society.

These two works, the projection and the installation of agricultural waste, were presented in the final presentation one year later, in Tanijiwo, February 2022.

08/03/2023

, dan .isijogja
mempersembahkan:
_
MEMORABILIA (Merangkai Memori Keluarga Baru Indonesia Melalui Arsip), sebuah lokakarya yang mencoba mengangkat isu-isu keluarga kontemporer Indonesia melalui medium fotografi.
_
UNTUK SIAPA?
Lokakarya ini ditujukan untuk siapapun yang tertarik menelisik kembali praktik pembuatan album foto keluarga, tidak hanya sebagai wadah penyimpanan foto-foto kenangan, tetapi juga melihat kemungkinannya sebagai media penceritaan visual yang bisa menghadirkan berbagai narasi yang lebih luas terkait konstruksi keluarga.
__
MENTOR:
1.
2.
3.
4.
5.
__
METODE:
MEMORABILIA akan dilaksanakan secara aktif & partisipatif, setiap peserta akan diajak membuat album foto keluarga sederhana yang memanfaatkan foto-foto serta arsip-arsip kenangan/memorabilia keluarga yang peserta bawa sendiri, beserta foto-foto tematik pilihan dari arsip koleksi Unhistoried.
__
JADWAL:
Jumat, 17 Maret, 2023
09.30 – Selesai WIB

LOKASI:
Fakultas Seni Media Rekam, ISI Yogyakarta

BIAYA:
Rp 100.000 (umum)
Rp. 50.000 (khusus mahasiswa/i jurusan Fotografi ISI Yogyakarta)
__
PESERTA & BEASISWA
Untuk maks. 16 peserta, terdiri dari 7 peserta umum & 8 peserta dialokasikan untuk mahasiswa/i jurusan fotografi ISI Yogyakarta (tidak ada seleksi, siapa cepat dia dapat). Tersedia 1 beasiswa melalui seleksi. Ketentuan beasiswa bisa dibaca di kolom komentar.
__
SYARAT DAN KETENTUAN UMUM:
Terbuka bagi umum dan mahasiswa/wi Jurusan Fotografi ISI Yogyakarta

Peserta wajib membawa:
1. Foto-foto keluarga sebanyak 10-20 foto. Dicetak dengan ukuran 3R (9x13 cm).
2. (Opsional) Arsip kenangan/memorabilia keluarga sebanyak 3-5 macam, seperti sura dari anggota keluarga, bon belanja keluarga, resep masak keluarga, peninggalan tulisan tangan anggota keluarga, dsbnya.

Untuk mendaftar, kirimkan email dengan subject email ‘MEMORABILIA’ berisi biografi singkat terdiri dari nama lengkap, alamat, nomor HP/WA, usia dan motivasi mengikuti workshop (1 paragraf) ke: [email protected]. Batas akhir pendaftaran 14 Maret 2023 pukul 23.59 WIB, atau hingga kuota maksimal peserta terpenuhi.

23/09/2022

Sabtu besok, 24 September 2022 di Panggung Kicau, Taman Kuliner Condongcatur jam 18.00, kami akan memutar koleksi arsip slide positif kami menggunakan alat yang berumur sekian dekade dan keberadaanya sudah hampir punah.

Acara ini bertajuk 'Menyusun Narasi dari Pinggir', tentang teknologi, air, dan tanah. Kami akan mengumbar koleksi foto dari Era Orde Baru ditambah dengan arsip lain yang kami sadur dari era kolonial serta sebagian hasil dari eksplorasi yang kami lakukan selama masa residensi kecil di Dieng, Wonosobo.

Belum layak jika disebut sebagai lecture atau kuliah karena kami sadar akan keterbatasan pengetahuan kami, maka akan lebih lezat jika presentasi ini menjadi ajang diskusi dan refleksi yang tentu saja membutuhkan sumbangsih pikiran dari kawan-kawan semua.

Sampai jumpa besok!

Salam,
Furqan & Kutjh

11/06/2022

Borobudur, one of the seven wonders of the world located in Central Java has been listed as a World Heritage Site by Unesco in the 1970s, which in the following decades has helped its restoration. Considered a magnet to tourism, Borobudur becomes a massively visited tourist destination. Moreover, with the Visit Indonesia program started in the New Order Era, the booming tourism industry in the following decades makes this Buddhist sacred place a site of overcrowded flock of visitors. Recent years' news has noted incidents and disturbance by ignorant visitors during the Vesak prayer, which has been decorated with the litting of hundreds of lanterns as additional entertainment to the ceremony.
Now, with the issue of raising entrance tickets to Borobudur, some pros and cons are debated. Whether it was necessary action to be taken, or is it just another government silly regulation. However, a Buddhist figure once said that Borobudur has never been designed as a tourist spot. It was and is a sacred site for (Buddhist) and everyone to learn about Buddhism. I started to imagine what if, in Istiqlal, or maybe Cheng Ho mosque in East Java had the same thing. Wouldn’t we feel irritated if some ignorant tourists climbed up and took selfies or did just whatever they wanted?
So, It also raises some questions, the government's decision of making Borobudur or other sacred places as tourism spots, also with the lack of education and massive (destructive) tourism trend in Indonesia, is it really the right and wise decision?

27/02/2022

Hari pertama, dan kedua kami memulai program residensi kecil di . Pagi-pagi kami berjalan di sekitar Tanijiwo untuk melakukan survey lingkungan pertanian di desa Pauan, Dieng.

13/01/2022

From the collection of Kintelan 4-a project. When Mr. Arif Budiwijaya traveled to Thailand 90s, to attend simposium of IBSRAM, he capture detail of interior’s hotel room.

12/01/2022

At first, we only kept and digitalized the family photographs. But after some consideration and the need of information. We realized that the cover of family albums could also provide necessary information. They often show the camera and film models that were being advertised through the albums given by the photo lab to customers. From that, at least we could know what type of camera and film that were popular at that time. Other than that, they also often portray photographs—mostly taken in the studio—to advertise what the service could do or rather just to offer beautiful images with posed models or sometimes (decorative) objects. Some other album covers were just showing the brand of the photo lab.

This is what then made us decide to scan these covers, while the previous has already been thrown away. These are just a few samples of the albums, most of them that we have already scanned are those mini albums usually containing one roll of printed images.

What about yours? Any unique albums from your family photographs?

30/03/2021

MLG-Velodrome 560.

From military family archive.

09/07/2020

Repost from
• • • • • •
Tulisan baru di WICARA: Foto Keluarga ala Orba; Teknologi Khitan, Militer Masuk Desa, dan Ibuisme Negara⁣⁣⁣
⁣⁣⁣
Oleh , seorang fotografer, penulis lepas dan dosen yang sedang melakukan proyek pengarsipan foto keluarga Indonesia di .⁣⁣⁣
⁣⁣⁣
“Foto keluarga adalah rekaman kolektif kecil beberapa individu yang diproduksi secara voluntary dan partisipatoris serta dikonsumsi dalam ranah domestik. Meskipun demikian, ruang domestik adalah percikan dari kondisi dunia luar. Foto-foto ini mungkin sekali menyimpan serpihan rekaman zaman yang bisa diretas untuk membaca serta melengkapi narasi sejarah yang lebih besar.⁣⁣⁣
⁣⁣⁣
Misalnya, seri foto prosesi khitan pada tahun 1980an yang menggambarkan anak yang dipegangi tangan dan kakinya. Waktu itu adalah masa awal penggunaan anestesia pada prosesi khitan. Khitan dilakukan oleh seorang Mantri dengan peralatan sederhana, tidak secanggih sekarang. Kini, dengan laser dan bius tanpa suntik, khitan menjadi begitu mudah, cepat, dan hampir tanpa rasa sakit. Selain menjadi gambaran visual yang kongkrit tentang prosesi khitan di era 1980an, foto ini adalah artefak visual tentang perkembangan teknologi medis di Indonesia.⁣⁣⁣
⁣⁣⁣
Dokumentasi kegiatan kerja dalam foto keluarga menegosiasikan batasan ruang (familial). Perekaman dunia kerja kerap kali menyisipkan komunitas lain dalam album foto keluarga. Ranah domestik tersebut menjalar lebih luas melalui individu yang memiliki multi peran; sebagai anggota keluarga sekaligus anggota komunitas lain. Relasi multi-dimensi tersebut menempatkan foto keluarga sebagai rekaman jaringan antar komunitas. Ia melampaui sekedar ruang domestik; menjadi keluarga kerja, keluarga kampung, komunitas kota, hingga komunitas sebagai sebuah nasion.”⁣⁣⁣
⁣
Foto: Proses khitan, 1980an. Sumber .⁣
⁣⁣⁣
Selengkapnya di arkademy.id atau link di bio!⁣⁣⁣

Address

Yogyakarta City

Website

https://pausedby.tumblr.com/tagged/unhistoried

Alerts

Be the first to know and let us send you an email when Unhistoried posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Business

Send a message to Unhistoried:

Name:

Email:

Message:

Shortcuts

Want your business to be the top-listed Photography Service in Yogyakarta City?