Decentralisation and Distribution of Artistic Practice
This article is the result of a performative dialogue by Benny Widyo and Agnisa Wisesa on Saturday, February 5, 2022 virtually and aired via the YouTube channel Biennale Jatim
Session 1: BJIX Artistic Work Portion
Benny Widyo: In this first session, we will talk about the artistic work portion of the 9th East Java Biennale (BJIX). In your opinion, what are the roles and functions of the artistic directors of the East Java Biennale?
Agnisa Wisesa: I think its function is quite ideal. From a theoretical point of view, the position of the artistic directors of the East Java Biennale IX (BJIX) has a lot of influence as a trigger for local social issues. This can be the foundation to continue the artistic and aesthetic process in each area involved in the event that is (in particular) the directors, in this context the East Java region.
BW: It's actually quite complex if we talk about the director's function. In BJIX there are 3 directors: main, program, and artistic directors. We haven't discussed exactly what the director's function is, including for all teams. In the Panca Rembug section, all directors get a share to manage a series of Rembug classes. Until the completion of BJIX, all the teams involved in BJIX, be it directors, coordinators or division members, carried out many tasks in their division of labor. Of course, in this case, the artistic directors are responsible for artistic matters, which in this East Java Biennale includes many things. First on the issue of the persona or appearance of BJIX. Then the second is also related to issues and discourses that are the focus of BJIX. And the last one is about themes and curatorials that involve many parties, because here the artistic director is responsible for formulating the decentralized format that is conceived.
AW: The tasks and functions in the organization are certainly complex. From the very beginning of the BJIX planning process until after BJIX it is the professional responsibility of the artistic director of BJIX. The artistic director's portion is very large, and in theory, from the theme to the practice of artistic work related to the delivery of art to the audience is the professional responsibility of the artistic director. With such a large portion of work, in practice, of course, there are various challenges that will arise during the process until the finalization of the work. Then from this problem, the problem asked is, if theoretically the responsibilities and work area are so large and wide, how significant is the portion of the artistic director’s workload in this biennale?
BW: This point finally needs to be evaluated, how big and significant the artistic director's work is. This pattern of decentralization involving many people requires work that must be interconnected, both between programs and artistic. The Syuro Curator Council (DSK) initiative was created to bridge the process involving an area of 38 cities and regencies.
AW: The DSK is also a unique step, as well as a peculiar strategy in this decentralized artistic process. The first initiation of their formation is as a bridge or an extension of the directors board. This is also one of many strategies developed this year to echo the true meaning of decentralization. This is what gave birth to the DSK initiative. But then there is a separate reflection about the DSK system that was created. The initial hope was that the 9 members of the DSK would become an agency, but later on, it was the relationship of artistic power that eventually became a problem that often appeared at this BJIX event.
BW: Power relations are important, we need to be aware of that. In practice what has happened, structurally the director is above the DSK. Although in the process we try to make it equal. However, it is difficult because we have different understanding and capital from each DSK involved. Adaptive is the only strategy used in the program coordination and negotiation process. So, I realize that this power relation must exist, but how is it not hegemonic. Avoiding the symbolic violence that is always a reminder. So that the work that happens is also not lame later.
AW: The problem that arises when adopting a horizontal (hopefully) work system is indeed full of intrigue. The nine DSKs representing the nine territorial divisions approach his residency, doing extraordinarily extensive artistic work as well. They are directly involved from the work process and artistic process of the artists in their respective areas. But here it needs to be underlined, it doesn't mean that the role of artistic director will be replaced, but indeed the evaluation that emerges is when a decentralized performance like this begins, perhaps the position, proportions and prepositions of work as well as the title of artistic director may not be essential. There was my wish then, why not DSK is also the artistic director or artistic director is DSK. In this case it's actually DSK works more than its title, and in practice, the ranks of DSK coordinate a lot in areas that stop at the managerial realm. This case happened in many ways, DSK as curator, manager, and speaker. But definitely come back again. This is the beginning of a reflection on the artistic director's work process that has taken place in the IX portion of the East Java Biennale. The artistic director is important in an event like the Biennale, but then there are many things that determine the achievement of the artistic director, namely the person, the discourse, and of course the area.
BW: The importance of this should not be judged by us. Because ultimately this artistic director is the name of a job. The significance is the responsibility of us, Agni and I, as those who carry out the work. There are many ways that are worth trying. Its existence is indeed important, but its portion needs to be clarified. Maybe we don't need an artistic director and leave it entirely to DSK. Or maybe even, the artistic director divides his duties, internal and external. Or many other simulation possibilities that are worth discussing and testing.
Session 2: Festival Model, Decentralization and Capital Redistribution
BW: In this second session we will talk about festivals, decentralization, and redistribution of capital. The first question that arises from this decentralization offer is “is it possible for new spaces to emerge?
AW: In my view, new spaces and new collectives have flourished in the last four years, especially in East Java, one interesting example to look at is the Pena Hitam group. In fact, the collective movement has thrived in areas that have accessibility to artistic work. Notes on collectives in Jakarta and Yogyakarta have become solid references on collectivism1. In contrast to East Java, the art groups formed have sporadic artistic patterns. The record of collectivism and decentralization of art access is hoped to be a breath of fresh air in growing an ecosystem for art workers in East Java. Either to develop their artistic discourse or to form their respective collectivities.
BW: In my opinion, the new spaces are the intended impact. This decentralization is a mapping effort as well as a trigger for cultural arts actors in the regions. The smallest ecosystems need to be built. The arena of production of spaces needs to be presented as a result of negotiations on the wants and needs of the agents involved in it. We have many different cultures that need to be accommodated. Decentralization is a format, which I think is the most appropriate to accommodate a wide arena with diverse practices and cultures. This decentralization is appropriate as the format for the East Java Biennale, although there are still many improvements that need to be made. Then the actual impact is no longer decentralized, but distributed. The network needs to be expanded again without having to be an umbrella. The ease of information technology certainly fills a gap that was difficult to imagine 10 years ago. Now, the doors of opportunity and collaboration possibilities are opened. Destroyed the walls that limit it. Various parties in East Java are expected to be able to build relationships with each other without having to go through a platform called the East Java Biennale again. Especially with information technology that has filled the gap, to create opportunities for various collaborations.
One of the results of the initial mapping that we can read is that there are gaps. Be it practice or activity. One example is that we continue to find gaps, some cities in East Java are submitting more programs than other regions. But with decentralization, we can get raw data that can be managed, which can be studied further. After marking; reading; and mapping out, what should we do after this? Of course doing a study and processing all the data that has been obtained to make it more conical.
AW: From the symposium activities in the nine regions, there were also interesting findings from the discussion. As previously explained, the trend of discussing the symposium is similar to the distribution of incoming program. There are significant differences from several areas of the symposium in discussing or raising the theme. In the areas of Malang, Pasuruan, Batu, then Surabaya, Mojokerto, Sidoarjo, there is a similar tendency to discuss progressive trends of contemporary art, while in other areas, the emerging discourses have similar common threads, which is to identity and balance between contemporary art and tradition. Regions such as Jember, Probolinggo, Kediri, Blitar, and several other regions discuss the balance between traditional and contemporary arts, but then there are also symposiums and program discussions in areas with accessors.
A more intense exposure to contemporary art creates a discourse on the context of art in society. This does not mean that the discussion about tradition is not progressive, but the pattern formed from the discussion is different. Actually this is also interesting because, why should it be negated when both (traditional art and contemporary art) can go hand in hand? The relationship between contemporary and tradition can actually synergize with each other because this becomes the importance to develop art in their respective areas. I think this is also one of the influences of the distribution of art capital in this area within the scope of East Java.
BW: In the end that's what we find out from this dialogue. Whether we realize it or not, this distribution is the next step of decentralization, so mapping is one of the outcomes of this BJIX decentralization format. But this data is still raw, in the sense that we already know the gap, but there are questions how and why it can happen. That should be the next step of this East Java Biennale. Because we can't just dream about it without making it a study and determining the strategic steps that can be offered. We can't just dream about it without any concrete data. Now we already have the data, don't let the data be left raw, useless and pass you by.
AW: We want all regions to have their own cultural (and artistic) programs. This conversation then reminded me of the conversation I had with the Co-Curator of the East Java Biennale 2 in early 2021 and then in May2. At that time there was also an attempt to create an art event with this decentralized model, but it was always confused with the statement “then what's the difference with a festival? Biennale must have prestige value!” said art practitioners, especially art writers in East Java.
BW : I don't think there is any difference, there is a construction that has been built from the name of the Biennale so that the format of this festival looks "lower". We often talk about the identity of the East Java Biennale, or even what identity (art) is in East Java. Although we don't really need to be burdened by that, if that is the main goal, this festival format is the right way because it will involve the community and the wider public. Specific local identities and issues must be shared with the public. So, this active participation must be present. Decentralization should not make actors and territories as objects, they are active subjects who are aware and have wants and needs that need to be accommodated. Although we often talk about East Javanese artistic identity in Biennale forums, we don't need to make it a burden. It will be very difficult to formulate the identity of East Java. We have multiple locales. One of the clearest examples is that we can divide East Java into sub-imaginary areas of Mataraman, Madura, and Horseshoe. Not to mention, the Mataraman language is also divided into several parts. Not to mention the other diversity that is lived in a small community. Maybe there are things that don't need to be enforced uniformly. It may be distribution and networking work that needs to be tightened to allow wider community involvement and participation. This decentralization should not only make actors and regions as subjects, but there are also other needs that need to be accommodated.
AW: I also think that it is also important to keep in mind that Garner and Green3 analyzed the differences between art exhibitions in general, and events such as the Biennale, Triennale and Documenta, that these major exhibitions focused on the development of existing art (or also challenged the development of art) discourses. Art in the city or region where the event is happening. However, they specifically discussed how the art could continue. The format of the Biennale is not an identity, but how the discourse continues. It is true that the implementation of this decentralized approach is similar to a festival, but the mapping and sustainability offered from the data that has been collected in BJIX is what challenges the festival model itself. There is a continuous process, or continuity, which does not only take the form of physical cleaning but also contexts and concepts. While the climax of the festival is the party activities, in the process of BJIX's work, it is significant before and after. The challenge is then how all of these programs can continue, how then these programs develop into bodies, into even fields. Not only about the format of the performance of a Biennale, but also the discussion we have about the parties involved in the arts. How can we not negate contemporary and traditional, young and old generations, so that a healthy discourse space on collectivism is formed in the art field in East Java?
BW: Autonomous. A few days ago I read the journal results from the Bucharest Biennale Conference4. The editorial introduction talks about biennales around the world that are becoming wheels, but they are also trying to manage things specifically. Yogyakarta and Jakarta have very striking biennials. And how they (Yogyakarta) manage, using the common thread of the curator. Which is finally global, and in practice the program can be spread in several places. For example, the Jakarta Biennale uses a parking lot, using public spaces. The biennale responds to the history that has occurred in their area, in a sense, the format of the biennale pattern is highly adaptable to the insight of each region. That's ultimately what needs to be looked at in particular. It is important to return outcomes and results to the programmer. The East Java Biennale is igniting, trying to meet the initial needs. If this can be interpreted as an entry phase, then in the process the existing spaces must actively participate. The types of works, issues discussed, managerial work patterns, to the final form of presentation are the outputs of the inputs that can be given by the actors in those specific spaces. We need to come up with a post-biennale where various arts and culture practitioners can continue to work independently.
Session 3: Imagining space. Utopia and Reality
AW: In this final session, we need to give a statement (or question) about regional distribution and art emancipation in each region. Like what is appropriate and distinctive to be able to support the sustainability of the development of the art body so that it is intact?
BW: Again back to each region. There's nothing wrong with testing each pattern, it's part of the process too. But don't forget that in every process there needs to be reflection and evaluation. Maybe not all regions have to build their market. Not all of them have to regularly hold exhibitions. Program forms such as discussions, workshops, curatorials, performances, archiving, site-specific projects, and many other options can be more appropriate to become art practices for a region. So go ahead and keep evaluating!
AW: It is undeniable that each region has its own characteristics. From the East Java Biennale, there is potential for each region to be able to expand into its own independent art habitat, as Benny previously explained, the process and method of art can take many forms. Even Malang and Pasuruan, which are close by, already have different art distribution patterns in different art markets. From BJIX there is potential for each region to develop it. This means that an action is needed to fulfill the position, proportion and preposition of artistic work in the East Java art practices. So we also have to open our eyes that artwork is not only in the form of exhibitions, or art discussions but can take other intangible (relational) forms. Then what should always be remembered when doing art activities, artists do have a role as a beacon for the surrounding community, but the lighthouse also needs to be built by other workers. So in the arts, not only artists, curators, gallery owners, but many others, such as writers, critics, academics and artisans have an important role in building an ecosystem. Not everyone needs to be an artist, there are always positions that need to be filled. Then the performers of the arts may also not really need the East Java Biennale structurally. More need a complete and supportive ecosystem. That is when the needs of art workers can be met. Art ecosystems and art fields can be present in their respective areas. This kind of distribution could fill the void in the art world of East Java.
BW: That's what the East Java Biennale did in the last 2 episodes. Starting with spreading the program, then asking again, "why the program?". If we look at how other biennales focus on a space for work, this East Java Biennale chooses to carry out decentralization activities. Trying to provide space for cultural arts actors in East Java to initiate programs. Whether it's archiving projects, performances, discussions or cultural gatherings, for example. If that example is more appropriate, we will finally find it in this process. It is also related to the artistic side and the program side, as well as the other side, whether it's managerial or publication, which are interrelated in one unified work system, which the East Java Biennale had to do. Some time ago, during a conversation, I thought, "Oh, maybe we don't need a biennale, do we? Or is this biennale becoming an activity format too quickly, in 2 years we haven't been able to really mark the developments in aesthetics and artistic work in this ecosystem. It's also possible that it has to do with working time, like the triennale offers: first year of research, year the second for the program, and the third year for conducting studies. Because we can always try it out, maybe the triennale is still too soon, maybe we can try to do it every 5 years, like Documenta.
AW: One of the outputs and responsibilities of BJIX is in archive form. Not only mapping, so after collecting data, it is also analyzed. What is mapped now, there is a distribution gap, different agencies in each region can fill each other. But in one area itself it builds its own ecosystem. It doesn't matter, just try it first, after that you can evaluate, analyze and continue.
BW: But when it comes to the distribution pattern, what is the ideal distribution pattern for East Java decentralization from the Biennale Jatim IX laboratory?
AW: My hope is that in the future, the meaning of the Biennale is also not restrictive, but it could become a structure that buckles art workers to develop artistry in their respective areas. Maybe art workers don't need the East Java Biennale structurally, but rather need artists who fulfill vacant roles in East Java's artistic work, for example writers, researchers, archivists, and art handlers in their respective artistic habitats. I think this distribution of understanding is suitable, maybe not ideal, but it is suitable for creating a progressive art discourse in East Java. It is not the activities that are reconstructed, but if the main purpose of the biennale is to create an aesthetic accountability for an area or challenge aesthetic accountability, but with this massive scope of structure, the hope is that this structure does not dictate how art workers behave or act.
BW: The decentralization pattern is only appropriate when the East Java Biennale is “organized”. But a more distributed pattern must be cared for in the arts and culture ecosystem in East Java. This ecosystem is filled by many agents who try to provide their respective functions. Provide an understanding or work of each. Effective or not it goes back to the work done. However, it is necessary to strive to build an ideal space for a local and specific arena. It is a form of resistance to the unequal patterns of artistic work. We have to manage what is near us first
AW: We are now at the end of the conversation. Discussion of the model, content and evaluation of the implementation of the IX East Java Biennale, of course, must bring us to a conclusion. The vacancy in infrastructure has indeed provided a visible gap in the artistic mapping of the IX East Java Biennale. To achieve the ideal of a space or even an art ecosystem, this mapping that is being carried out ideally provides a little picture of how to generalize the distribution of access. By way of understanding that in an artistic activity, not only the artist is involved. There are vacant positions whose roles must be distributed. Implementing and motivating these programs to run is an effort from BJIX to shape the field itself. It is not perfect yet, but there is always the prospect to fill vacant positions in these art spaces, so that they become an ecosystem. The ecosystem must be supported by a qualified infrastructure. East Java Art Councils (Dewan Kesenian) are very active and have a role in building a more massive and broad discussion in their own respective areas. However, the proportion of the Arts Council's role in art discourse in East Java also needs to be reconstructed by its agency. Ideally, the artist should not be doing five different types of work at the same time.
BW: It's hard to define, because the ideal concept cannot be generalized. But if BJIX is a laboratory, then what needs to be started is to build spaces that support “behind the scenes' ' work and appreciate it. Making work outside of production not only a supporter, but the position of each of these work practices is equal. Not also by having to meet all the needs of ecosystems and infrastructure, but find out for yourself what kind of ecosystem and space that needs to be built. Starting from the smallest ecosystem, which is closest to us. Managing local potential to find its position on more global issues. Because, it is each local cell that forms the body of a complete artistic ecosystem.
This essay is published in the BJIX Catalogue Book, 2022.