Timoteus Anggawan Kusno (b. 1989) studied social and political science at Gadjah Mada University & cultural studies at Sanata Dharma University. He uses ethnographical methods and institutional approach with a wide range of production techniques including drawing, graphic design, film, photography, writing/editing literature, performance, installation. His works challenge the historical memory that has been taken for granted, by articulating questions around the ideas of collective remembering and forgetting; and how do the memories manufactured, twists and transform into ‘fantasied history’, fantastic ‘history’, and/or ‘historicized fantasy’.
Since 2013, he has been developing an art project called “Centre for Tanah Runcuk Studies”, a (fictional) institution which conducts ’studies’ on a (lost) territory in Dutch East Indies called Tanah Runcuk. He also initiated “Lost and Found and Lost and What Department”, a traveling project which exchange the forbidden memories through site-specific & interactive art installation. He was commissioned as a concept artist for 2014 Indonesia’s Documentary Film Festival. In 2015, he was selected as a resident artist at ARCUS Project, Japan. He is also selected by Asialink for Kerjasama: Reciprocal exchange program in 2016. He will be taking part in Europalia 2017 at Bozar, Brussel, and also presenting his project in Equator Biennale this 2017.
Artraker Biennial Awards 2017
CONFLICT AREA / COUNTRY OF REFERENCE: INDONESIA
This work is a site-specific installation which produced in 2015 as the part of “Liminal” project, organized by Cemeti Art House. In this work, I intervened Cemeti by making a special bureau for “Alternative History Research”. There I staged an initiative (fictional) project of borrowing an ancient artifact from the British Museum, which comprises the comprehensive studies of a monument “stolen” by Sir Stamford Raffles (former general governor in Dutch East Indies in early 19th century). It is stated that this artifact signifies the reoccurrence of mass-murder incidents in Java along the history.
As presented in my work, due to local administrative procedures, the artifact was banned for public display. To resolve this, Cemeti used their rarely-opened study room to exhibit the artifacts to a "limited" public audience. People can access this room and experience the "un-opened" cargo box, together with the representations of the artifact, as well as the study materials. In the representations of the artifacts, I created fictional narratives by twisting the unwritten history on several massacres (from the collected oral history; testimonies from survivals, witnesses, and the doer) as well as the "mysterious" murders under Suharto's authoritarian regime, that never made its way into reconciliation and formal history until today—nearly 20 years after the fall of the regime. Through this project, I wanted to record the “rejected” memories in an alternative way, as well as to challenge the “mystified” history that has been ‘taken for granted’ in my generation by brought it in to this liminality.
Anatomy of the (Lost) Memory
Site specific installation
© Artraker CIC 2017