design by studio4oo2 and lumbung.space working group Since the internet became popular, it has become a medium that allows the creation of new solidarity between users spread across various regions. Unfortunately, this internet networking ability is not necessarily neutral, it exists on platforms controlled by elites and full of surveillance. Nonetheless, these digital solidarity practices continue to give rise to new—more egalitarian ideas and forms; that continue to explore the unique potentials of internet use.
Gratitude towards those who made documenta fifteen possible for us: Project was funded by documenta fifteen and Goethe Institut, New Delhi Party Office is an anticaste, antiracist, transfeminist art and social space based in New Delhi, India, also at satellite locations and as conceptual architecture. Through publications, grants, radical archives, conversations of life lived, social gatherings, parties and more, we are building transnational dialogues on empathetic futures, care communities and radical agency.
The Harvest at Documenta 15, by Sandra Fernández 。。。English translation below 。。。 La resistencia y el reflejo de la otra cara del arte propiciaron un encuentro entre diversos colectivos del mundo. La organización colombiana Más Arte Más Acción reconoció en sus actividades la importancia de juntar visiones hacia el desarrollo sostenible. Con el ánimo de continuar construyendo a favor de la comunidad, haciendo crecer redes y resistiendo más allá de los 100 días de la Documenta 15, que se desarrolló del 18 de junio al 25 de septiembre, los miembros de Lumbung, ahora y más fuerte que nunca, deciden apostarle a la constante lucha por la igualdad.
In an essay for Arts Equator, Alia Swastika, Director of the Jogja Biennale, offers a bold analysis of ruangrupa’s documenta fifteen, one that frames their artistic direction as an opening of new pathways that are long overdue. 。。。 Indonesian collective ruangrupa successfully introduced the global art world to the value of resource sharing and collective imagination through lumbung, the core curatorial concept at documenta fifteen, which opened on 18 June 2022, and ended two days ago, after it’s 100 day run.
Spillover and Spillover Governance at Documenta in Kassel, by Liu Weitian 。。。English translation below 。。。 当代艺术的边界在加速扩张，边界本身逐渐失去原有的意义，用于划分领土的界线成为双向侵蚀滋长的浑浊地带。溢出和污染在此处发生。伴随着边界的瓦解，中心与边缘的关系失去了支撑，领域自身的连贯性破裂了。矗立在艺术世界中心位置，继承了辉煌遗产的利益相关者们仍然幻想着对边界和疆域的掌控，尽管他们脚下的地面已经出现裂缝。 我们熟悉的关于“艺术”的知识越来越无法帮助我们理解所处的状况，“艺术作品”或是“艺术创作”这样的词汇愈发显得画蛇添足、不合时宜。敏锐的艺术史学者和艺术批评家尝试理解正在发生的变化，并通过历史和理论写作来修补裂缝、重整秩序。他们看似乐于见到艺术边界的扩张，并积极地参与到这项事业中，可是这样的工作往往建立在对于边界本身的敬意和怀念之上。由此生产出的叙述和理论不足以帮助我们理解事情的全貌。比如，对“艺术介入社会”的历史叙述和号召远赶不上艺术的边界化解于真实世界中的速度。当保护着艺术的壁垒已经形同虚设，“艺术介入社会”只是帮助艺术挽回些许颜面的伪命题。 在一些利益相关者的努力下，新的名词和分类法被源源不断地生产出来，演变成为新的艺术范式进入艺术生产的说明书，同时亮相于艺术市场的标签和图录中。尝试参透并掌握溢出的部分是有价值的，因为新的话语和新的历史建构是争取未来的必要途径。然而，参透和掌握的冲动是值得警惕的，因为这种冲动的驱动力往往是与资本主义相伴相生的驯服-殖民逻辑。这套逻辑支撑着一个强大的防御和生产系统，它试图将一切溢出之物裹挟、削弱、中和、利用，改造为让艺术世界保持活力的养分，而学术研究是这套系统中的重要工具。 所谓“激进”艺术实践的内在矛盾也体现在这里：随着“激进”在艺术话语中被赋予越来越多的价值，艺术系统通过收编那些关于激进思想的作品和展览，将艺术的“激进”从社会现实中剥离开。不难发现，“激进”术语已悄然成为艺术世界的新宠儿，它们在学术论文和艺术市场间穿梭自如，在作品和展览介绍中轮番登场，它们一边为知觉钝化的当代知识人带去自我满足的刺激感，一边为艺术家和策展人提供在当今艺术世界穿行、爬升的信用额度。艺术系统由此升级为一场金融游戏，行动与变革在虚拟的游戏世界里彻底让位于估值与投机。 艺术自主和社会介入的二元对立在今天已经没有意义。艺术的自主性面临的危机被新自由主义管理艺术的先进手段逐一化解。这同时也是一项心理和情感层面的治理术，它将自主性无法完成的使命通过对自我升值和自我实现的执着追求交付给艺术世界的每个公民，使其自觉、虔诚地维护艺术的尊严，由此实现对艺术边界区域浑浊成分的净化和回流。在这个意义上，溢出意味着逃离新自由主义治理术对情感的管理，将艺术公民的虚荣心和羞耻感抛之脑后。 第15届卡塞尔文献展就是一个溢出的艺术现场，溢出与溢出治理在此角力。担任策展人的印尼艺术团体ruangrupa将“lumbung”（印尼语里意为“米仓”）作为此次文献展的核心理念。在印度尼西亚的农村，村民们将收获的多余粮食储存在由大家共同管理、共同使用的粮仓。取义于这一做法的lumbung所包含的意义超越艺术的范畴，它涉及到的包括共同生活和资源分配在内的问题指向对社会结构的思考和实验。 文献展期间，主展场弗里德利希阿鲁门博物馆变身为一座学校，来自雅加达的教育平台和当代艺术生态系统Gudskul在一楼展厅复刻了共同学习项目Sekolah Temujalar。（作者摄） 尽管超越个人主义的集体工作模式在近几年的当代艺术讨论中开始受到关注，现有的对于“艺术团体”的理解却往往只是狭隘地将其视作一种新的艺术形式，或是简单地将其归结为从个人独立创作到多人合作的转变。与其说这一视角忽视了集体工作模式之于社会结构的深远意义，不如说它在有意回避关于艺术基础结构以及社会运作机制的讨论，从而在自己划定出的狭小框架下获得一丝稳定和安全感。此届文献展排除了这些形式主义讨论的干扰，直接击中问题的要害：如何彻底摆脱殖民主义遗产——剥削关系、所有权、独立于他人的个人主权和自由意志——对我们认知世界的限制，从而想象和建立一个新的共同存在的方式？ 可贵的是，ruangrupa不满足于展示和呈现关于“米仓”的实践，而是将“米仓”作为实践方法组织整个文献展。如果说前者是当下的“学术-艺术综合体”最习以为常的对待溢出的方式，那么后者则是一次对艺术系统的扰乱。对于高度专业化的西方艺术系统来说，这样的扰乱无疑会引起困惑和不适，甚至是恐惧和敌意。当溢出的规模和程度超过了利益相关者们（请注意“股东”在文献展反犹争议事件中扮演的角色）的容忍限度，治理溢出的机器便启动了。 对于受邀参展的艺术家来说，如何处理自己的实践与艺术展览和观众们的关系亦是一项挑战。实践与艺术语境下的作品以及机构框架中的公共项目并不兼容，展示和再现的逻辑也很难捕捉实践中最为关键的工作方法以及维系着实践的社会关系。于是，各式各样的手绘思维导图，以及散落在房间醒目位置的长桌和长凳，成了此届文献展中突出的元素。这些“展品”邀请观众们想象那些溢出于展览之外、无法被物化的相聚，同时也讽刺地揭示了展览逻辑自身的局限。 ruangrupa对艺术系统自身的标准和期望并非毫不在意；相反，ruangrupa深知西方艺术世界的焦虑和渴望，并且敢于深入这一系统的内部进行搅动，在错综复杂的共谋关系中为“溢出”开辟通道。在这个意义上，此次文献展的意义不在于扩展了艺术的领域，而在于进一步松动了把守着艺术边界的阀门，让溢出在新的溢出治理术被发明和实施之前，朝着不可预估的方向加速发生。 有趣的是，英文中“portfolio”一词既可指艺术家的作品选辑，也可指个人或机构的投资组合。 “学术-艺术综合体”（academic-artistic complex）这一说法来自Fred Moten与Stefano Harney合著的文章“Suicide as a Class”，详见All Incomplete, Minor Compositions出版社, 2021年, 148页。 刘伟田，《歧路批评》的编辑之一。 。。。 The borders of contemporary art are expanding at an accelerated rate, the borders themselves are losing their original meaning and the boundaries that demarcate the territory are becoming a murky zone where erosion grows in both directions.
Practicing the Lumbung: An Overview of documenta 15 in Pictures, by Alejandra Villasmil 。。。English translation below 。。。 La historia está plagada de capítulos sombríos donde los intereses geopolíticos y económicos terminan por incidir en la libre expresión cultural. En los casos más complejos, terminan en censura y autocensura. Desde este sur global, solo basta mirar los casos de Cuba y Venezuela. Lo acontecido en la última edición de documenta se inserta precisamente en este juego del poder político, que tristemente ha acabado por socavar el derecho a la manifestación artística de un grupo de participantes de entre los 1.
Documenta15 is over. This is the first time that I felt sorry that the exhibition is over.I tried to write this several times before the end of the 100 days, but I couldn’t: whether to write an official, write a personal , or this hesitation prevented me from writing.Now, I think I should write.NongkrongDo we have a Nongkrong? There is a Nongkrong in Indonesian. This means “Let’s hang out!”. All of our friends used it in Kassel.
17.08.2022 Dear visitors, passersby, Kassel community, we are part of the sobat-sobat, the team of art mediators employed at this year’s documenta ffteen. Our intention behind writing this letter of solidarity is to publicly show our support, trust and respect for the Artistic Direction ruangrupa, the invited collectives and artists, curators, staff and the corresponding local networks. They all have worked passionately to create one of the most relevant art exhibitions at this time.
Scroll down and click on the tab “Public Signatories” if you wish to add your name to the list Dear Christian Geselle, Angela Dorn, Susanne Völker, Claudia Roth, the Supervisory Board and the Shareholders of documenta, We are angry, we are sad, we are tired, we are united. We have tried our best to stay above the chaos, hostility, racism and censorship that have engulfed this edition of documenta. We have tried our best to stay focused and committed to our work and the promises and hopes of the lumbung.
Just Rolllllll by lumbung artist Nhà Sàn Collective is a competition of rolling with unexpected criteria. Roll your way with food, tobacco, humor, and love. Participants can bring edible ingredients to join the rolling and win something.The Nhà Sàn Collective, together with invited artists, is organizing a public program at documenta fifteen with a performative, participatory work in the spirit of the practice of lumbung. By fusing Asian cuisine and music from around the world, the project aims to create a sense of community and belonging.
documenta fifteen public program MEYDAN #1MEYDAN MUSIC FESTIVALby Festival sur le Niger, RRREC Fest, Cinema Caravan 8, 9, 10 July 2022Fri – Sat: 4 pm – 11 pmSun: 4 pm – 10 pmKarlsaue Park, Kassel, Germany A collaboration between 3 festivals (Fondation Festival Sur Le Niger, Cinema Caravan, and RRREC Fest) with performers from various backgrounds across the world, to deliver a 3-day gathering in a casual hang-out atmosphere that is intimate and friendly.
On July 30, 2022 16:00–18:00 (guided tour 16:15) you are cordially invited to the Open Labs and Open Studio at the research platform BAU KUNST ERFINDEN | BUILDING ART INVENTION: How to weave and braid with solid wood? How to transform light into energy and energy into light? How can concrete grow green? How to combine old crafts with new technologies? How do microstructures interact with macrostructures? We combine artistic practice with scientific research.
CALCUTTA 71 Noted director Mrinal Sen’s CALCUTTA 71 was released in 1972. A collection of four stories representing the Naxal Movement in Bengal and the effects of the social, political, and financial crisis of the 1970s that eventually led to a lack of food and starvation in a chaotic, classified society. All four stories in the film address the unsafe situation in society. A family is sent to a safe shelter in the middle of the night as the family lives in a slum area and is part of the lower class of society.
Nguyễn Trinh Thi, 2022 Installation, mixed media Durational Blending elements of literature, sound, image, and technology, Nguyễn Trinh Thi creates a live theatre in which the wind from Tam Đảo forest in Vietnam takes center stage. And They Die a Natural Death takes inspiration from a scene recounted in the autobiographical novel Tale Told in the Year 2000 by Vietnamese writer Bùi Ngọc Tấn (1934 – 2014). Set in Tam Đảo forest outside a prison camp in Northern Vietnam in the 1960s, the scene recounts an incident where famished inmates stumble upon a wild bird’s eyes chili forest after an exhausting day of forced labor and become crazed for its taste, a flavor which reminds them of home.
drawing by Indra Ameng Soft launch of the lumbung network’s online platform lumbung.space is a social and publishing platform by and for the lumbung members and artists of documenta fifteen. The platform allows members of the lumbung network to connect, support each other, and share knowledge collectively while making the process visible to the public. The website will continuously evolve but is based on slow-growing with new tools added over time.
Different cultures have different concepts and definitions of art. documenta fifteen processes are no exception, where the definition of art becomes another space for conversation. The involvement of lumbung inter-lokal from various cities in the world has come with different concepts. When this is brought together in the context of documenta fifteen taking place in Europe, a new dynamic takes place. At least two main features are visible. The first is the tendency of how art tends to be associated with objects resulting from the achievements of individual genius.
(Learning Session with Kate Rich – 04032021) Everyone from different cities is joining. They are from lumbung members, mostly: Gudskul from Jakarta, Festival Le Sur Niger from Mali, Britto Arts Trust from Dhaka, Trampolin House from Copenhagen and others. It was started with a quick introduction. Kate is currently in Tasmania, Australia. She’s going to talk about the feral trade. As an artist, she has been dealing with trade for almost twenty years.
“Welcome everybody. Can you hear me?” Said Morten Goll. He did check-in. “This is stick from Trampoline. It is brought from southwest of the US. Somebody will pass it. It is interesting to know what people eat in different part of the world.” Everyone mentioned what they eat the last time. Some mentioned salad, coffee, orange juice. Morten: We’re thankful for being in lumbung. It’s amazing to have support from lumbung and documenta.
“Welcome everyone to lumbung majelis. Today I am going to be the host with Lara. We’d like to describe today’s agenda.” Ameng started the conversation. “We’ll start with INSTAR today. We do a short introduction with Gertrude on economy. And come back to check out. To join the split, click on the three dots. Remember to click on interpretation, for interpretation. Spanish, French, and Indonesian. Also, we have harvest today.
When the second day of the assembly began, FAFSWAG, a collective based in New Zealand got their turn for the introduction. It is one of the new lumbung members. Hi, everyone. I am Moe Laga. I am a performance artist, also an actress. I am Felencia. I am a transwoman from Samoa. I am of some lineage to German and Chinese. I am a performance artist. Been in FAFSWAG since 2013.
In front of us were people from various cities on the planet. They all, respectively, appeared on small squares on laptop monitor. Reggae song was played. It was also Tone’s birthday. All were smilingly greeting one another. We were on board for lumbung assembly 2021 through zoom meeting. “Welcome to our assembly again,” said Ajeng. “We have Wajukuu and Britto that will host us. “It’s great in assembly again,” Gertrude added.
By Putra Hidayatullah Jawa Pos (12/12/2021) Arnold Bode was 50 years old when he requested a colleague to add the letter “a” at the end of the word “document” to name an art event. When this happened, the Second World War had just ended. The war had also deeply affected the art scene in Germany. Previously, in July 1937, there was the National Socialist propaganda exhibition “Entartete Kunst” in Munich.
Questions on extractive mode of living where resources are concentrated on the few has inevitably been part of conversations. This issue has invited myriad thoughts and dialogues on how to sustainably prolong the resources. Also, there’s no way to avoid conversing about regeneration as it’s been one of the key values in lumbung process. Within the idea of regeneration, the possibility and limit are challenged. How to see resources not just as commodity to be accumulated.
Perhaps there’s an empty hole inside human soul which urge to be filled again and again. Once a hole is jam-packed, another will come up to the surface. It drives individuals to explore or sometimes conquer what is in front of them for the sake of ambition despite political or ecological consequences. As one of lumbung values, sufficiency has been a pertinent concept to revisit today. What is the meaning of being enough?
What is the relationship between those who govern and those who are governed? The critical question might arise as people are living together in one common space. What bring them together? The question will take us to the issue of trust. Will, then, there be trust without transparency? As one of lumbung values, transparency become one key topic in our latest lumbung calling. As it is related to the idea of knowledge and power sharing, Shahidul Alam, a photographer and cultural activist from Bangladesh joined us and shared his practices and perspectives on transparency and its relation to lumbung in his context.
There used to be days when joy was blown in the air. People were dancing. Children and adults were celebrating the moment, also travelers from distant countries. You could listen to the sound of music. Creativity dominated the city. In Segou, art is not only about beauty, but a spirit calling people to come together. They call it Festival le sur Niger, one of the biggest art events in West Africa.
Throughout history, independence has been an important narrative around the world. It is been perceived as a noble goal. Yet, it is still relatively a rare topic to discuss. Within our conversation about Lumbung, what if we revisit the notion of independence? On June 8 2021, Jumana Emil Abboud, a host based in Jerusalem, and Mirwan Andan who is now based in Kassel, trigger this this topic further. Not only conversing about independence, they also weave it with the idea of interdependence which is not hierarchical and binary.
Despite it exists and is familiar in our daily life, humor as a topic seems relatively far from conversations. It was evening in Indonesia when speakers across different time zones began shedding a light on the topic. Our host, Mirwan Andan from Indonesia and Jumana Abboud from Palestine mentioned lumbung and humor. Why they are worth conversing? On the same screen was Gridthiya Gaweewong based in Thailand. As a curator, she has been working on the issue of political culture in Southeast Asia.
With four different time zones, from Makassar, Jakarta, Jerussalem and Kassel, some people were connected to each other through Lumbung Calling. It is the first public program of documenta fifteen (03/04/2021). Hosts and guests looked prepared on the screen. They were about to talk about one of the main values of lumbung for documenta fifteen called: local anchor. As Melani Budianta, a scholar from Universitas Indonesia, got her chance, the conversation on lumbung definition and its practices by locals was started.
27 Oct 2020 Five days later, the assembly continued. “Good morning all! Thank you! We are delighted, we would like to share our story” Bright smiles were on screens. They were Festival Le Sur Niger from Mali, West Africa. On the short video played, people enjoyed exhibitions, talks, and various kind of music. Men and women danced cheerfully. This yearly festival has been one of the drivers of cultural economy in their city, Segou.
“Are you guys ready?” The lyrics appeared on our screen. The music pounded delightfully in our ears, triggering all our adrenaline. All tried to keep on singing a song by Gloria Gaynor, I Will Survive. With the karaoke, time flew. “We can feel your energy. Thank you everyone!” All applauded. That’s how the third assembly was started on October 23. Gudskul from Jakarta accepted its first turn. The background of the screen was football stadium and all Gudskul team appeared with colorful outfit just like football players.
On the second day of the Lumbung Assembly all the vibe was still the same. Cheerful faces from various parts of the earth appeared on the screen. “We have a request, we have a Zoom performance,” said Yazan, representing a collective called Question on Funding from Palestine. “We are going to sing a song and you will sing after us, okay. Here we go!” Everyone got prepared and after each verses of the lyrics, all repeat the word “Yo ya .
IT IS LIKE in a twinkling of eyes, the end of this year is getting closer. It is also within this time of the year 2020 all lumbung members virtually gathered to see the streams of ideas travels and are connected from one place to another. As preparation for the next Documenta 15, all were gathering for assembly in which each of them introduced themselves, shared their stories, ideas, as well as their preliminary projections for the next two years—or even more.
Hundreds of miles from Indonesia arose the roar of the Spanish wind. On the monitor screen was a Caucasian man with a sharp nose. “Assalamualaikum …” he greeted with a smile, “Can you hear me?” That afternoon wind hit his blonde hair. Several times, he adjusted the laptop and sitting position. The sound of the microphone mixed with the sound of the wind, “Yes, Fernando. We heard your voice, ”replied all other lumbung members.
Sarha is a community radio based in Palestine which is managed by a collective called Sakakini. As part of a lumbung members, they host lumbung members. Lumbung which means rice barn is a concept used by Documenta 15 as a curatorial theme covering from cultural to economic practices. Radio Sahara invited Jatiwangi Art Factory to get to know them better. It was 5 pm Indonesian time. It is unusual to see the word art and factory in one name, said Sahara.
Imagine a moment ago you just passed the sea with fierce waves. Shadows of death and uncertainty dawdled in your mind. Is there a better life on the other side? Circumstances have forced you to leave your homeland, where your childhood and the lingering memories of mother and family reside. Stranded on a strange land and meeting people with the same fate but with different backgrounds cause you to feel that unpleasant stories being written in many different parts of the world.
IMAGINE we are on time machine holding on magical chair that’s going to take us to a distant past. As we close our eyes we would land on an old archipelago with myriad cultures. Thousands of islands are connected by the ocean. Sailors of the worlds are waiting for the monsoons wind to reach the isles. There used to be kingdoms on which most people fed on agriculture. With the help of buffalo or cows, farmers cultivate the lands on an arranged season which pours them enough waters.
In Dipantara you find yourself as a stranger. Between the city spaces you see a crowd you don’t recognize. The current of vehicles races with the flow of life. Looking up you see the buildings standing under the slow-moving clouds. “Welcome to the country under the wind,” as if you could hear the giant statues in the city space greet you; before you continue walking. Where will this crowd go and what are wandering in their minds?
The smell of crops touches your nostrils. Nearby a point where you are standing is a small building. It is not hanging, yet it is high above your head. Dozens of chickens are underneath waiting some crops to fall. Your hand hold on the stair. It is made of dried branches of trees. Without worrying, you find it is strong enough to hold your body. Fewer than the number of your fingers, you can count the steps you take.
Seven skinny cows gobble seven fat ones, they are sequentially appeared in your dream. At a glance, seven dried wheat stalks and seven wet wheat stems emerge. You are awake. Your mind is struck by the oddness. You have a hunch that it is a sign, perhaps a message from the universe? The increasingly confusion leads you to search for the meaning of the dream. You need an interpreter and the news is spreading throughout the kingdom.