E watching by Philo Art Space

Objects are scattered, cluttered, lying around, in various forms and presentations, right before our eyes. All are seemingly awaiting reaction. Beckoning. Flirting. There is a sight distance. It is indeed the uniqueness of human, to create distance. Creating certain relations. Here emerge space and time, objectively or psychologically. Human approaches, enters, and plays within them. Such reaction becomes an emotional relation, aesthetic even. The relations amongst human, object, space and time then become a world with special meaning. Photography is the interpretation of the world above. The result of observation that sometimes requires ample time for reflect, but sometimes in a spontaneous, surprising instance. Photography is directly related to the issue and mastering of technology that also represents the existence of eyes beyond the sight distance. As part of the senses, they eyes have visibility limit â&#x20AC;&#x201C; especially in recording objects, while the very awareness of this limit propels human to try to overcome it. This effort would then create a photo technology where the eyes are able to overcome their visibility limit specifically in recording or preserving that ability. Philo Art Space, about to celebrate its 10th anniversary, is holding a photography exhibition by two photographers: Samy Zimah and Sutrisno Jambul. The interest shown for these two photographers are relatively new. Both aim at and create unique obâ&#x20AC;˘ SUTRISNO JAMBUL jects;SAMY createZIMAH their own language. They enter into and reveal the relation amongst human, objects, March - 25 April 2015 space and time. 25 They awaken the challenge on how to preserve the passion to perception.

WATCHING

Objek-objek bertebaran, berserakan, bergelimpangan, berbagai cluttered, lying around, in various Objects are scattered, macam rupa dan bentuk terpampang di depan mata kita. Semuanya forms and presentations, right before our eyes. All are seakan menunggu reaksi. Memanggil. Menggoda. Ada jarak panseemingly awaiting reaction. Beckoning. Flirting. There is a dang. Kekhasan manusia memang senantiasa menjaga jarak. Menciptakan relasi tertentu. Muncul ruang dan waktu di sini sight distance. It isbaik indeed the uniqueness of human, to create secara objektif maupun psikologis. Manusia mendekati, medistance. Creating certain relations. Here emerge space and masuki, dan bermain di dalamnya. Reaksi ini pun menjadi sebuah objectively or psychologically. Human approaches, relasi emosional bahkan estetik. Relasi time, manusia, objek, ruang dan waktu lalu menjadi sebuah dunia yangenters, bermakna andkhusus. plays within them. Such reaction becomes an

emotional relation, aesthetic even. The relations amongst

Fotografi merupakan hasil pemaknaan atas fenomena dunia di human, object, space atas. Hasil pengamatan dan observasi yang membutuhkan cukup and time then become a world with waktu untuk merefleksikannya namun juga special kadang spontan meaning.mengejutkan. Fotografi terkait langsung dengan persoalan dan penguasaan teknologi yang notabene merupakan ekstensi dari mata is the interpretation of the world above. The dalam jarak pandang. Sebagai bagian dari Photography indra, mata mempunyai result of observation batas pandang apalagi untuk merekam objek-objek. Sedangkanthat sometimes requires ample time for kesadaran atas batasan indrawi ini membuat manusia berupaya in a spontaneous, surprising instance. reflect, but sometimes seniat mungkin untuk mengatasinya. Upaya ini kelak menghasilPhotography is kan teknologi foto dimana kemudian mata mampu mengatasi directly batas- related to the issue and mastering of technology that also batas pandang dan teristimewa merekam atau mengabadikan ke-represents the existence of eyes beyond mampuannya tersebut. the sight distance. As part of the senses, they eyes have

visibility limit â&#x20AC;&#x201C; especially in recording objects, while the very Kali ini Philo Art Space, menjelang HUT ke-10, mengadakan pamawareness of this Jamlimit propels human to try to overcome it. eran fotografi oleh dua fotografer Samy Zimah dan Sutrisno bul. Ketertarikan atas karya foto kedua fotografer ini relatif This effort would then create a photo technology where the belum lama berlangsung. Keduanya membidik dan menciptakan obeyes are able memasuki to overcome their visibility limit specifically in jek secara khas. Membangun bahasanya sendiri. Mereka or preserving that ability. dan menguak relasi kebermaknaan antara recording manusia, benda-benda, ruang dan waktu. Menghidupkan tantangan bagaimana mengabadikan gairah mempersepsi. Samy Zimah dan Sutrisno Jambul sama-sama memotret fokus pada Philo Art Space,Objekabout to celebrate its 10th anniversary, is objek-objek yang menjadi perhatian mereka keseharian. objek yang holding a photography exhibition by two photographers:

Samy Zimah and Sutrisno Jambul. The interest shown for these two photographers are relatively new. Both aim at and create unique objects; create their own language. They enter into and reveal the relation amongst human, objects, space and time. They awaken the challenge on how to preserve the passion to perception. Samy Zimah and Sutrisno Jambul both capture the focus on the objects that are their daily interest. Objects that are in general not

on y Exhibiti

Photograph

SAMY ZIMAH

â&#x20AC;˘ SUTRISNO JAMBUL

25 March - 25 April 2015

Photography is the interpretation of the world above. The result of observati a spontaneous, surprising instance. Photography is directly related to the is eyes beyond the sight distance. As part of the senses, they eyes have visibili limit propels human to try to overcome it. This effort would then create a ph specifically in recording or preserving that ability.

WATCHING

Objek-objek bertebaran, berserakan, bergelimpangan, berbagai macam rupa dan bentuk terpampang di depan mata kita. Semuanya seakan menunggu reaksi. Memanggil. Menggoda. Ada jarak pandang. Kekhasan manusia memang senantiasa menjaga jarak. Menciptakan relasi tertentu. Muncul ruang dan waktu di sini baik secara objektif maupun psikologis. Manusia mendekati, memasuki, dan bermain di dalamnya. Reaksi ini pun menjadi sebuah relasi emosional bahkan estetik. Relasi manusia, objek, ruang dan waktu lalu menjadi sebuah dunia yang bermakna khusus. Fotografi merupakan hasil pemaknaan atas fenomena dunia di atas. Hasil pengamatan dan observasi yang membutuhkan cukup waktu untuk merefleksikannya namun juga kadang spontan mengejutkan. Fotografi terkait langsung dengan persoalan dan penguasaan teknologi yang notabene merupakan ekstensi dari mata dalam jarak pandang. Sebagai bagian dari indra, mata mempunyai batas pandang apalagi untuk merekam objekobjek. Sedangkan kesadaran atas batasan indrawi ini membuat manusia berupaya seniat mungkin untuk mengatasinya. Upaya ini kelak menghasilkan teknologi foto dimana kemudian mata mampu mengatasi batas-batas pandang dan teristimewa merekam atau mengabadikan kemampuannya tersebut.

WATCHING Objects are scattered, cluttered, lying around, in various forms and presentations, right before our eyes. All are seemingly awaiting reaction. Beckoning. Flirting. There is a sight distance. It is indeed the uniqueness of human, to create distance. Creating certain relations. Here emerge space and time, objectively or psychologically. Human approaches, enters, and plays within them. Such reaction becomes an emotional relation, aesthetic even. The relations amongst human, object, space and time then become a world with special meaning. Photography is the interpretation of the world above. The result of observation that sometimes requires ample time for reflect, but sometimes in a spontaneous, surprising instance. Photography is directly related to the issue and mastering of technology that also represents the existence of eyes beyond the sight distance. As part of the senses, they eyes have visibility limit â&#x20AC;&#x201C; especially in recording objects, while the very awareness of this limit propels human to try to overcome it. This effort would then create a photo technology where the eyes are able to overcome their visibility limit specifically in recording or preserving that ability.

Kali ini Philo Art Space, menjelang HUT ke-10, mengadakan pameran fotografi oleh dua fotografer Samy Zimah dan Sutrisno Jambul. Ketertarikan atas karya foto kedua fotografer ini relatif belum lama berlangsung. Keduanya membidik dan menciptakan objek secara khas. Membangun bahasanya sendiri. Mereka memasuki dan menguak relasi kebermaknaan antara manusia, benda-benda, ruang dan waktu. Menghidupkan tantangan bagaimana mengabadikan gairah mempersepsi.

Philo Art Space, about to celebrate its 10th anniversary, is holding a photography exhibition by two photographers: Samy Zimah and Sutrisno Jambul. The interest shown for these two photographers are relatively new. Both aim at and create unique objects; create their own language. They enter into and reveal the relation amongst human, objects, space and time. They awaken the challenge on how to preserve the passion to perception.

Samy Zimah dan Sutrisno Jambul sama-sama memotret fokus pada objek-objek yang menjadi

Samy Zimah and Sutrisno Jambul both capture the focus on the objects that are their daily interest. Objects that are in general not attractive to the 2

tion that sometimes requires ample time for reflect, but sometimes in ssue and mastering of technology that also represents the existence of ity limit – especially in recording objects, while the very awareness of this hoto technology where the eyes are able to overcome their visibility limit

perhatian mereka keseharian. Objek-objek yang secara relatif bukanlah yang menjadi pusat perhatian umum. Mereka tidak berangkat dari apa saja yang direpresentasikan oleh realitas hiruk-pikuk urban. Mereka mendobrak mainstream dengan mengenyampingkan objekobjek urban yang gemerlap dan serba masif. Namun bukan berarti mereka menafikan begitu saja godaan untuk mempertanyakan apa sebenarnya realitas di balik objek-objek itu. Sekitar setahun lamanya Samy dan Sutrisno bergelut dengan problem realitas dalam fotografi demi terlaksananya rencana pameran ini. Pertanyaan dan jawaban silih berganti terutama untuk menangkap relasi karakter objek-objek, gagasan, dan teknik. Tidaklah mudah merajut karakter demi menghasilkan karya yang niatnya menyampaikan sebuah pencapaian estetik secara padu dan memuaskan. Sering kali dalam hal ini, mau tak mau, membutuhkan keberanian eksperimentatif dan itulah dasarnya tantangan bagi semua kreator. Samy Zimah memilih jalan teknikeksperimennya dengan membakar objek-objek bidikannya. Cara itu tentu saja dilakukan dengan mempertimbangkan secara matang khususnya atas media yang digunakan. Setiap alasan di balik teknis-eksperimen tak lain adalah untuk menciptakan karya yang sesuai dengan gagasan. Bahkan eksperimen pun sering tak luput dari tuntutan langkahlangkah yang teratur dan sistemik. Barang tentu, tak sedikit hasilnya yang sama sekali tidak memuaskan. Sebagaimana dasarnya fotografi ialah membidik objek yang menarik mata. Namun ternyata tidak hanya sampai di sana. Bagi Samy bidikan pertama itu hanyalah diambil sebagai bahan baku. Pilihan baginya adalah untuk menyiasatinya lagi agar memunculkan efek sesuai dengan yang diinginkan. Selayaknya efek menjadi impresi-impresi yang hendak ditetapkan sebagai hasil estetik. Samy memperlihatkan pada kita bagaimana efek bidikan pertama itu kemudian dibidik lagi untuk kemudian dicetak sebagai karya final. 3

public. They are not starting their works from what are represented by the urban cacophony. They break the mainstream by overlooking the glitzy and massive urban objects. But that does not mean that they dismiss the temptation to question what lies beyond the reality of such objects. For about a year both Samy and Sutrisno struggle with the problem of reality in photography for the staging of this exhibition. Questions and answers come intermittently in order to be able to capture the relations of the objects, ideas, and techniques characteristics. It is not easy to weave character that is resulting in works that are intent on presenting a compact and satisfying aesthetic achievement. Many times in the process, both must refer to their resolve on experimentative bravery which basically is the challenge for all creators. Samy Zimah chose his experiment-technique path of burning is shooting objects. Of course the method has been thought thoroughly, especially related to the types of media used. Every reason behind the experiment-technique is none other than to create works that capture the ideas. An experiment is never free of the demands of measured and systematic steps. And of course, a lot of its products are far from satisfactory. As with photography, the core is to capture objects that attract the eyes. But it does not stop there. For Samy, the first shot is just the raw material. The choice for him is to manipulate it more to enable it to produce the effect he desires. So that the effects become the impressions that he would establish as the aesthetic products. Samy shows us how the effect of that first shot is re-taken and then printed as the final work. Sutrisno Jambul has a special perception towards all things marginal. He is a photographer who is actively seeking the ‘not-ordinary’. A pilgrim that does not tire. His world is to where his feet take him and where the camera is aimed at. It is not the clamor or the glitz of explicit human activities that he seeks. And not about all the commotion on traffic jams, the ‘mushrooming’ of malls, cafes, restaurants and all those dazzling places in the city. His own special perception for matters related to photography is ‘nearing oblivion’: those broken, faded, torn, smashed, wretched.

Sutrisno Jambul memiliki persepsi khusus terhadap yang marjinal. Ia adalah fotografer yang aktif mencari sesuatu yang kurang lazim. Seorang pejalan yang tak mengenal lelah. Dunianya adalah sejauh batas ke mana kakinya melangkah dan terlebih lagi ke mana kameranya terarah. Bukanlah keheboan atau sensasi aktivitas manusia secara langsung yang ia cari dalam hal ini. Apalagi ributribut soal kemacetan dan menjamurnya mall, kafe, restoran, dan tempat-tempat gemerlap di ibu kota. Persepsi khususnya untuk urusan fotografi ialah ‘menjelang lenyap’; lapuk, rusak, sobek, hancur, menggenaskan. Ia tidak asal terpukau begitu saja pada kemajuan teknologi fotografi karena yang fokus baginya adalah bahasa atau persepsinya tentang makna dari ‘yang menjelang’ itu. “Watching”! Judul Pameran Fotografi Samy Zimah dan Sutrisno Jambul ini. Jarak estetik fotografi senantiasa diawali oleh kesadaran atas pandang darimana persepsi hadir. Membidik objek merupakan pilihan dan bagian dari pergulatan bathin. Samy dan Sutrisno adalah dua sahabat yang menganggap dirinya memiliki persentuhan enerji kreatif yang padu. Mereka sendiri yang secara bersama mencari tema yang memungkinkan untuk berkolaborasi. Grafik usaha mereka berlangsung sangat dinamik terutama dalam menentukan karya-karya yang tepat demi kepaduan tema. Pada akhirnya mereka menjatuhkan pada pilihan yang tak jauhjauh dari urat nadi fotografi itu sendiri, melihat, menyermati, dan dengan cara yang lebih mendalam lagi, mengawasi. Ekstensi dari mata manusia itu sendiri. Persoalannya, mengawasi dalam konteks pameran ini bukanlah relasi subjek mengawasi objek sebagaimana lazimnya. Namun bagaimana kemudian relasi ini membalik bahwa sesungguhnya objeklah yang mengawasi sang subjek. Mengganggap membidik tapi ternyata dibidik. Kondisinya bahwa hidup itu rangkaian dari proses membidik dan dibidik, mengawasi dan diawasi. Menganggap diri sebagai pelaku utama ternyata di saat yang sama menjadi sekedar dipekerjakan. Pada akhirnya, tinggal terletak pada sadar atau tidaknya di mana posisi kita sebenarnya dalam proses ini. Samy Zimah membidik realitas di luar batasan kongkrit atau abstrak dan bagaimana bersikap keras terhadapnya. Manusia mangawasi dan diawasi dalam perjalanan hidupnya. Samy

“Watching”! is the title of the Photo Exhibition presenting the works of Samy Zimah and Sutrisno Jambul. The aesthetic distance of the photograph always begins with the awareness of sight where perception awakens. To shot an object is to make a choice and is a part of a mental battle. Samy and Sutrisno are best friends who see themselves having a complementing creative energy intersect. They decide to together search for theme that gives room for their collaboration. Their chart showing their efforts in finding the right complementing works to fit the theme is very dynamic. In the end, they made their decision on subjects that are near to the core of photography itself: to look, to see, in the way beneath the banal, to oversee. The very extension of the human eyes. The issue is, to watch in this exhibition context is not about a subject looking at an object as in ordinary situation. Here, the relation is the other way around, where the object is actually watching the subject – who thinks they aim but actually is being aimed at. It represents a situation that life is a chain of aiming and being aimed at, watching and being watched. That we think ourselves as the main actor while at the same time we are just being played. In the end, it is just a matter of being aware of one own position in the process. Samy Zimah looks at the reality beyond the actual or abstract limit and takes a hard stance on it. Human watch and is being watched in their journey of life. Samy emphasizes on the icons eyes and body – the relation of these two icons that propels the challenges in civilization; the two icons that are often used as metaphor of something else. The bodied eyes and the eyed body. Eyes and body that give birth to the meaning of watching and being watched, a ‘panopticon’, like a prisoner warden, complete with their arm and alarm and light, standing above on the watchtower, having a full view of every move the inmates make, and fully aware of any attempt at breakout. In Watching, it is obvious to Samy that human is trapped in the paradox of holding or being held in prison. And human indeed always wants to explore or to play with this paradox. A person, be it a pessimist or an optimist, cannot be severed from such condition. Photography may be considered as one of the human ability to give meaning to the paradox. The eyes, in their capacity to set a sight distance, are actually interpreting the reality and interpreting is constructing the reality into the pictures. Photography then becomes autonomous in their language-logic apart from the other creationaesthetic languages. Samy transparently 4

menonjolkan ikon mata dan tubuh dalam hal ini. Relasi antara dua ikon diri manusia yang senantiasa memunculkan tantangan bagi alur peradaban. Dua ikon yang acapkali dijadikan metafor untuk memaknai sesuatu. Mata yang bertubuh dan tubuh yang bermata. Mata dan tubuh yang melahirkan makna pengawasan dan diawasi, sebuah “panaptikon”, ibarat sipir, lengkap dengan senjata, sirine, dan lampu, yang berdiri di atas menara dengan pandangan penuh awas terhadap gerak-gerik terutama bagi kemungkinan narapidana melarikan diri. Dalam Watching (Mengawasi) nampak bagi Samy kondisi manusia senantiasa berada dalam paradoks memenjara dan dipenjara. Manusia pun selalu berkeinginan ke luar atau bermain-main dengan paradoks ini. Seseorang apakah ia nampak optimis atau pesimis tak lepas dari reaksinya atas kondisi tersebut. Fotografi rupanya bisa dikatakan sebagai salah satu hasil dari kemampuan manusia memaknai paradoks. Mata dengan kapasitasnya menentukan jarak pandang sesungguhnya sama halnya dengan menginterpretasi kenyataan dan menginterpretasi sama dengan mengkonstruksi kenyataan ke dalam bahasa foto itu sendiri. Fotografi pun menjadi otonom dengan logikabahasanya di samping bahasa kreasi-estetik lainnya. Samy dengan transparan menunjukkan bagaimana mata dan tubuh demikian leluasa menginterpretasi dan menghadirkan kenyataan hidup keseharian manusia, yakni kita masih dalam sebuah perjalanan. Samy mengaitkan secara demikian halus pergulatan tubuh interioritas dengan tubuh eksterioritas, enerji kedalaman diri manusia dengan keluasan perubahan ruang gerak objektif. Perjuangan diri, siapa pun, berlangsung dalam siklus mengelak atau terperangkap oleh pengawasan mata-tubuh. Manusia misal demikian sukses mendirikan tubuh-tubuh bangunan dalam lanskap kota sebagai ekstensi dari mata-tubuhnya sendiri sementara ia justru seringkali terpekur, frustasi, stress, tak berdaya terbawa tuntutan mekanistik ruang urban tersebut. Tak mengherankan, bagi Samy, keterpekuran itu sering membawa tubuh manusia akhirnya suka tertunduk atau sujud jika tidak harus mengenakan topeng sebagai pertanda survive. Sutrisno Jambul di suatu hal menghubungkan mata dengan tubuh eksternal namun menunjukkan sebuah pengalaman perjalanan yang lebih personal. Tubuh eksternal itu nampak dari penandaan objek-objeknya yang 5

shows how the eyes and the body take a free interpretation and present the reality of human daily life: that we are still in a journey. Samy finely connects the struggle of body interiority and exteriority, the energy of human self depth, with the freedom of objective movement space changes. One’s struggle, any one, is happening within a cycle of evasion or of being trapped in the watch of eyes-body. Human, in their success of building bodies of buildings in a city landscape as their own eyes-body existence, often is awed, frustrated, stressed, and rendered hopeless by the very own mechanistic demand of such urban space. As for Sutrisno Jambul , at one point he connects the eyes with the external body while also shows a more personal experience of a journey. The external bodies can be seen from the marking of his objects which are all present on the wall. We can interpret these as a representation of physical body or social body. Both emerge as a photography landscape of eyes-body as perceived by Sutrisno. Posters that are torn, crumpled, broken and fading – to Sutrisno they have a symbolic strength that is full of meaning. How do objects that are considered as visual waste can be turned into creative works? It is an important question for every creator. Aesthetic does not always start from something that in its own is beautiful. Sutrisno obviously put aside the conventional notion that focuses on the opinion that arts only recognize the aesthetic objects. Photography is a perception and each perception cannot be separated from ideology, even the ideology itself. Objects being shot therefore cannot be seen as barren of ideology. Objects presented by Sutrisno, specifically, have the feel of the intersection of economic interest in the form of advertisement, promotion, and the invitation to attend the launch of certain products. Sutrisno, with the eyes-body, is watching beyond the boundaries often deserted because such objects are only waiting for their demise. Forsaken objects that stored life gone by that invite us to see within ourselves. They watch, they are still there, don’t run don’t turn away, there are still so many things need to be done, do not forget, don’t be ignorant, and so on creating a train of problems within and without ourselves. Sutrisno’s eyes-body is a reflection of the mundane daily urban space. Samy Zimah and Sutrisno Jambul, two photographers who posses similar curiosity that

kesemuanya terpampang di tembok. Kita bisa membacanya sebagai penampilan baik tubuh benda maupun tubuh sosial. Keduanya menjelma sebagai lanskap fotografi matatubuh persepsi Sutrisno. Poster-poster yang lusuh, sobek, rusak, nyaris lenyap bagi Sutrisno ternyata menyimpan kekuatan simbolik yang penuh makna. Bagaimana objek-objek yang selayaknya disebut sampah visual itu lalu mampu menjelma sebagai karya-karya kreatif? Pertanyaan penting bagi setiap kreator. Bahwa estetika tak seharusnya berangkat dari sesuatu yang pada hematnya nampak sudah indah dengan sendirinya. Sutrisno jelas menepis pendirian konvensional yang berfokus pada keyakinan bahwa seni hanya mengenal objek-objek estetik. Fotografi merupakan persepsi dan setiap persepsi tak terlepas dari ideologi, bahkan ideologi itu sendiri. Objek-objek yang dibidik pun seharusnya tidak dianggap tanpa unsur-unsur ideologi sama sekali. Khususnya objekobjek yang dihadirkan Sutrisno bernuansa persinggungan kepentingan ekonomis lewat iklan, promosi-promosi, dan undangan atau ajakan menghadiri pertunjukan peluncuran produk-produk tertentu.

they interpret in their own unique way. In essence, they both have the intention to create something different, to present a newness â&#x20AC;&#x201C; things that are the objective of all creators. Human is watching and is being watched at the same time. Happy exhibitioning! Tommy F Awuy curator

Sutrisno dengan mata-tubuh mengawasi menembus batasan yang acapkali disepikan karena objek-objek itu tinggal menunggu waktu untuk dihilangkan. Benda-benda mati yang di baliknya menyimpan kehidupan lalu mengajak kita untuk menengok diri sendiri. Mereka mengawasi, ia masih di sana, jangan pergi atau lari, masih banyak yang harus diperbuat, jangan melupakan, jangan masa bodoh, dan sebagainya berentetan hal atau masalah dalam diri sendiri maupun di sekitar kita. Mata-tubuh persepsi Sutrisno merupakan refleksinya tentang ruang urban keseharian. Samy Zimah dan Sutrisno Jambul, dua fotografer yang memiliki rasa kepenasaran yang sama dengan cara dan jalannya masingmasing. Bagaimanapun mereka punya niat untuk membuat sesuatu yang berbeda, berupaya menampilkan kebaruan sebagaimana halnya yang diperjuangkan oleh semua kreator. Manusia mengawasi Selamat berpameran.

sekaligus

diawasi.

Tommy F Awuy kurator

Samy Zimah chose his experiment-technique path of burning is shooting objects. Of course the method has been thought thoroughly, especially related to the types of media used. Every reason behind the experiment-technique is none other than to create works that capture the ideas. An experiment is never free of the demands of measured and systematic steps. And of course, a lot of its products are far from satisfactory. As with photography, the core is to capture objects that attract the eyes. But it does not stop there. For Samy, the first shot is just the raw material. The choice for him is to manipulate it more to enable it to produce the effect he desires. So that the effects become the impressions that he would establish as the aesthetic products. Samy shows us how the effect of that first shot is re-taken and then printed as the final work.

SAMY ZIMAH

Don’t Go Away • 7

80 x 100cm • Media print on canvas • 2015

Going On • 80 x 100cm • Media print on canvas • 2015 8

Prostration • 80 x 100cm • Media print on canvas • 2015 9

The

eyes,

their

capacity

set

sight

distance, are actually interpreting the reality and interpreting is constructing the reality into the pictures. Photography then becomes autonomous in their language-logic apart from the other creationaesthetic languages. Samy transparently shows how the eyes and the body take a free interpretation and present the reality of human daily life: that we are still in a journey.

Rise Up â&#x20AC;˘ 80 x 100cm â&#x20AC;˘

Media print on canvas â&#x20AC;˘ 2015 10

Still Watching • 80 x 100cm • Media print on canvas • 2015 11

Posters that are torn, crumpled, broken and fading – to Sutrisno they have a symb waste can be turned into creative works? It is an important question for every cre Sutrisno obviously put aside the conventional notion that focuses on the opinion th The Body #1 • 80 x 100cm • Media print on canvas • 2015 perception cannot be separated from ideology, even the ideology itself. Objects being 12 specifically, have the feel of the intersection of economic interest in the form of adve

bolic strength that is full of meaning. How do objects that are considered as visual eator. Aesthetic does not always start from something that in its own is beautiful. hat arts only recognize the aesthetic objects. Photography is a perception and each The Body #2 • 80 x 100cm • Media print on canvas • 2015 g shot therefore cannot be seen as barren of ideology. Objects presented by Sutrisno, 13 ertisement, promotion, and the invitation to attend the launch of certain products.

The Mask • 80 x 100cm • Media print on canvas • 2015 14

Sutrisno Jambul has a special perception towards all things marginal. He is a photographer who is actively seeking the ‘not-ordinary’. A pilgrim that does not tire. His world is to where his feet take him and where the camera is aimed at. It is not the clamor or the glitz of explicit human activities that he seeks. And not about all the commotion on traffic jams, the ‘mushrooming’ of malls, cafes, restaurants and all those dazzling places in the city. His own special perception for matters related to photography is ‘nearing oblivion’: those broken, faded, torn, smashed, wretched.

SUTRISNO JAMBUL

I See You • 100 x 80cm • Media print on canvas • 2015 15

I Like that • 100 x 70cm • Media print on canvas • 2015 16

I Don’t Know • 70 x 100cm • Media print on canvas • 2015 17

I’m Still Here #1 • 160 x 110cm • Media print on canvas • 2015 18

Sutrisno,

with

the

eyes-body,

watching

beyond

the

boundaries often deserted because such objects are only waiting for their demise. Forsaken objects that stored life gone by that invite us to see within ourselves. They watch, they are still there, don’t run don’t turn away, there are still so many things need to be done, do not forget, don’t be ignorant, and so on creating a train of problems within and without ourselves. Sutrisno’s eyes-body is a reflection of the mundane daily urban space.

It’s Me • 100 x 70cm • Media print on canvas • 2015 19

It’s You • 70 x 100cm • Media print on canvas • 2015 20

I’m Still Here #2 • 160 x 110cm • Media print on canvas • 2015 21

Let’s Go Together • 100 x 80cm • Print on canvas • 2015 22

SAMY ZIMAH Solo Photography Exhibitions: 2012 “Illusion”, Tri Tunggal Gallery, Jogyakarta, Indonesia 2011 “Recycle”, Jogya Gallery, Jogyakarta, Indonesia Selected Group Exhibitions: 2014 “Watching”, Philo Art Space, Jakarta, Indonesia 2013 “Homage to Asia – Liebeser Klarung an Asien”, Dresden, Germany 2012 “Anniversary”, Philo Art Space, Jakarta, Indonesia “Katanya Indonesia”, Galeri Gudang Panglima Polim, Jakarta, Indonesia 2011 Printing ASEAN logo at the porous media

SUTRISNO JAMBUL Sutrisno Jambul was born in Jakarta, 14 October 1978. He studied basic journalistic in 2002 followed with journalistic class education in 2004 at Antara Journalistic Photo Gallery. In 2006, he pursued morning class education at Anton Ismael. He worked at Jakarta Magazine as Contributor in 2006. From 2008 – 2009 he worked as Photographer at Merdeka Daily. He is now a Photographer at Corruption Eradication Media and as an active Contributor to Demotix/CorbisNews. Some of Sutrino’s journalistic pictures had been at Guardian, Press Association Images, Bauer media group Australia. Awards: 2001 Runner up of Photo Model Rally Fuji Film 2002 First winner of Photo Model Rally at Foto Media Magazine 2004 Runner up of creative photo at Foto Media Magazine Selected Photography Group Exhibitions: 2014 : Watching, Philo Art Space, Jakarta, Indonesia 23

For about a year both Samy and Sutrisno struggle with the problem of reality in photography for the staging of this exhibition. Questions and answers come intermittently in order to be able to capture the relations of the objects, ideas, and techniques characteristics. It is not easy to weave character that is resulting in works that are intent on presenting a compact and satisfying aesthetic achievement. Many times in the process, both must refer to their resolve on experimentative bravery which basically is the challenge for all creators.

2012 : Pamphlet Photography Exhibition at Antara Journalistic Photo Gallery, Jakarta 2011 : “Geliat Jakarta”, FX Plaza, Jakarta 2009 : “Urbantopia”, North Art space, Jakarta 2001 – 2006 : Photography Exhibition at Antara Journalistic Photo Gallery and at Anton Ismael, Jakarta

emotional relation, aesthetic even. The relations amongst

This catalogue is published in conjunction with a Photography Exhibition

WATCHING 25 March - 25 April, 2015 ÂŠ Philo Art Space Jl Kemang Timur 90 C South Jakarta 12730 Indonesia t/f: (62 21) 719 84 48 m: +62 811 10 60 47 e: info@philoartspace.com philoartspace99@gmail.com w: www.philoartspace.com Curator: Tommy F Awuy Special thanks: Rosianna Silalahi, Samy Zimah, Sutrisno Jambul Photography of Artworks: Artist Design : milovtrisno@gmail.com Published by Philo Art Space 043/2015 Copy Rights ÂŠ Philo Art Space All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photography, recording or otherwise, without the written permission from Philo Art Space

Samy Zimah and Sutrisno Jambul both capture the focus on the objects that are their daily interest. Objects that are in general not attractive to the public. They are not starting their works from what are represented by the urban cacophony. They break the mainstream by overlooking the glitzy and massive urban objects. But that does not mean that they dismiss the temptation to question what lies beyond the reality of such objects. For about a year both Samy and Sutrisno struggle with the problem of reality in photography for the staging of this exhibition. Questions and answers come intermittently in order to be able to capture the relations of the objects, ideas, and techniques characteristics. It is not easy to weave character that is resulting in works that are intent on presenting a compact and satisfying aesthetic achievement. Many times in the process, both must refer to their resolve on experimentative bravery which basically is the challenge for all creators. Samy Zimah chose his experiment-technique path of burning is shooting objects. Of course the method has been thought thoroughly, especially related to the types of media used. Every reason behind the experiment-technique is none other than to create works that capture the ideas. An experiment is never free of the demands of measured and systematic steps. And of course, a lot of its products are far from satisfactory. As with photography, the core is to capture objects that attract the eyes. But it does not stop there. For Samy, the first shot is just the raw material. The choice for him is to manipulate it more to enable it to produce the effect he desires. So that the effects become the impressions that he would establish as the aesthetic products. Samy shows us how the effect of that first shot is re-taken and then printed as the final work. 2