Q U I E Solo Exhibition
S
S YA I F U L G A R I B A L D I
C E N T
Q
u
i
e
s
c
e
n
t
Q U I E S C E N T ROH Q
u
i
e
s
c
e
n
t
Q U I E Solo Exhibition
S
S YA I F U L G A R I B A L D I
C E N T
Q
u
i
e
s
c
e
n
t
Quiescent Published on the occasion of SyaifulGaribaldi’s solo exhibition from February X to March X, 2016
Te x t Roy Voragen
Photography Ario Wibhisono
Design Gifran Muhammad Asri heydayforgood.com
Print Production Starlite / Zentech / Angkasa Putra
Edition 300
Publisher ROH
rohprojects.net Equity Tower, 40th floor Jl Jend Sudirman Kav 52-53 South Jakarta, Indonesia 12190 info@rohprojects.net T. +621 51402116
PREFACE
PREFA CE
1/1
Quiescent
Q
Quiescent U
I
What is this thing we call life? In
What is this thing we call life? In
initial impression, this question may
initial impression, this question
appear to be completely rudimentary.
may appear to be completely rudimentary.
And yet, life is so fundamental to our
And yet, life is so fundamental to our
observable existence. Life appears
observable existence. Life appears in a
in a wide variety of permutations all
wide variety of permutations all around
around us everyday: through people we
us everyday: through people we interact
interact with on, our pet companions,
with on, our pet companions, birds flying
birds flying in the sky, trees and plants
in the sky, trees and plants we see. We
we see. We are also accustomed to life
are also accustomed to life on a smaller
on a smaller scale, such as viruses and
scale, such as viruses and bacteria we
bacteria we protect ourselves from or
protect ourselves from or dust mites
dust mites that often cause us allergies.
that often cause us allergies. But
But despite how familiar we are with
despite how familiar we are with our
our intuitions in terms of being able
intuitions in terms of being able to
to identify something alive, life itself
identify something alive, life itself
is a much more complicated concept
is a much more complicated concept that
that may not so easily be defined. As
may not so easily be defined. As our
our understanding of biochemistry,
understanding of biochemistry, molecular
molecular biology, and technology has
biology, and technology has shifted
shifted (artificial intelligence, artificial
(artificial intelligence, artificial life,
life, etc.) have progressed, how we view
etc.) have progressed, how we view life
life requires adaptation as well.
requires adaptation as well.
One way of looking at life is to ask
One way of looking at life is to ask
oneself whether or not a comprehensive
oneself whether or not a comprehensive
E
S
C
E
N
T
2/ 2
P RE FACE
PREFA CE
3/3
Q
Q
U
U
I
E
S
C
E
N
T
I
analysis of what constitutes life
analysis of what constitutes life
Syaiful Aulia Garibaldi is an artist from
Syaiful Aulia Garibaldi is an artist
through biology is sufficient in terms
through biology is sufficient in terms
Bandung, with an interdisciplinary
from Bandung, with an interdisciplinary
of defining it. This would thus lead to
of defining it. This would thus lead
background in agriculture and
background in agriculture and
a mechanistic view of life, that if we
to a mechanistic view of life, that if
agronomics (Universitas Padjadjaran,
agronomics (Universitas Padjadjaran,
may understand the way that proteins,
we may understand the way that proteins,
Bandung), as well as fine arts and
Bandung), as well as fine arts and
enzymes, and cells interact with each
enzymes, and cells interact with each
printmaking (Fakultas Seni Rupa dan
printmaking (Fakultas Seni Rupa dan
other, that we would then be able to
other, that we would then be able to
Desain, Institut Teknologi Bandung).
Desain, Institut Teknologi Bandung).
understand it completely. It was then
understand it completely. It was then
Natural Sciences and Visual Arts are
Natural Sciences and Visual Arts are
argued famously by Descartes, however,
argued famously by Descartes, however,
interweaved, interact with each other,
interweaved, interact with each other,
that there exists a dualism, a sort of
that there exists a dualism, a sort of
and developed cogently in his works.
and developed cogently in his works. In
separation, between the mind and
separation, between the mind and matter.
In essence, Syaiful Garibaldi’s artistic
essence, Syaiful Garibaldi’s artistic
matter. That which our mind comprises
That which our mind comprises of
practices focuses on life: celebrating
practices focuses on life: celebrating
of is different to what our bodies are
is different to what our bodies are
it, investigating it in places we are not
it, investigating it in places we are not
comprised of. There are those who
comprised of. There are those who
familiar with, imagining new horizons
familiar with, imagining new horizons
argue that understanding the laws of
argue that understanding the laws of
for it, as well as taking it further into
for it, as well as taking it further into
biology, chemistry, and physics, does
biology, chemistry, and physics, does not
the realm of fantasy and imagination.
the realm of fantasy and imagination.
not sufficiently allow one to come to an
sufficiently allow one to come to an
His works contain features of bio art,
His works contain features of bio
answer the question of life. Some have
answer the question of life. Some have
exploring his ideas through actual
art, exploring his ideas through actual
argued, for instance, that consciousness
argued, for instance, that consciousness
bacteria, living organisms, and life
bacteria, living organisms, and life
is an irreplaceable component of
is an irreplaceable component of life.
processes in his work. Other times he
processes in his work. Other times he
life. But what is consciousness? This
But what is consciousness? This
illustrates and conglomerates empirical
illustrates and conglomerates empirical
question has, in and of itself, another
question has, in and of itself, another
references within abstract realms
references within abstract realms
complex array of issues that thinkers
complex array of issues that thinkers
through drawings and paintings.
through drawings and paintings.
continue to struggle and develop
continue to struggle and develop
theories towards.
theories towards.
Garibaldi tends to blur the lines
Garibaldi tends to blur the lines
between science and art, spending time
between science and art, spending time
E
S
C
E
N
T
4 / 4
P RE FACE
PREFA CE
5/5
Q
Q
U
U
I
E
S
C
E
N
T
I
in nature as well as the laboratory,
in nature as well as the laboratory, and
preserve these developments, capturing
developments, capturing moments of
and developing both mediums and
developing both mediums and references,
moments of particular significance in
particular significance in complex
references, which he then develops
which he then develops in his work.
complex progressions and expressing
progressions and expressing them in an
in his work. He is also interested in
He is also interested in language, and
them in an aesthetic manner. Quiescent
aesthetic manner. Quiescent is the
language, and how communication
how communication is vital to living
is the nature of being inactive or
nature of being inactive or dormant,
is vital to living organisms (Terhah,
organisms (Terhah, Garibaldi’s fictional
dormant, but with the potential of
but with the potential of becoming
Garibaldi’s fictional language, is dealt
language, is dealt with in greater detail
becoming something afterwards. If
something afterwards. If Garibaldi was
with in greater detail in Roy Voragen’s
in Roy Voragen’s accompanying concrete
Garibaldi was previously interested in
previously interested in motion and
accompanying concrete poem and
poem and essay). The correlation that
motion and progress, he now focuses
progress, he now focuses on the idea of
essay). The correlation that exists
exists between the utilization of
on the idea of investigating those things
investigating those things that are
between the utilization of language and
language and living forms as mediums
that are “asleep”.
“asleep”.
living forms as mediums for his works
for his works is a compromise between
is a compromise between letting go of
letting go of interpretation and
In previous explorations, Garibaldi has
In previous explorations, Garibaldi
interpretation and the development of a
the development of a methodology of
become known for his explorations
has become known for his explorations
methodology of communication to his
communication to his audience, as well
into fungi, on an empirical level, how
into fungi, on an empirical level, how
audience, as well as the way his medium
as the way his medium may develop into
fungi are essential to food chains
fungi are essential to food chains as
may develop into unpredictable
unpredictable territories. There
as decomposers, how fungi develop
decomposers, how fungi develop elaborate
territories. There seems to be an interest
seems to be an interest in Garibaldi’s
elaborate networks underground and
networks underground and reach into
in Garibaldi’s work, or an awareness,
work, or an awareness, of the notion
reach into places we do not see, as well
places we do not see, as well as how
of the notion of the organic (or alive)
of the organic (or alive) and that it
as how physical fungi may act as an
physical fungi may act as an interesting
and that it requires an openness for
requires an openness for his works
interesting medium for visual arts. On
medium for visual arts. On a more
his works to go beyond his own
to go beyond his own expectations, that
a more metaphorical standpoint, how
metaphorical standpoint, how and why
expectations, that he must necessarily
he must necessarily be open for his
and why fungi in its various forms
fungi in its various forms whether
be open for his works to mutate, and
works to mutate, and grow beyond his
whether roots, spores, or growths may
roots, spores, or growths may be invisible
grow beyond his intended parameters.
intended parameters. In Quiescent,
be invisible to the human eye, and yet
to the human eye, and yet contain complex
In Quiescent, Garibaldi’s aim is to
Garibaldi’s aim is to preserve these
contain complex array of nuances in
array of nuances in terms of purpose
E
S
C
E
N
T
6 / 6
P RE FACE
PREFA CE
7/7
Q
Q
U
U
I
E
S
C
E
N
T
I
terms of purpose and structure. There
and structure. There is something to
Lichens come in a wide variety of
is something to the breaking down of
the breaking down of organic elements
sizes, colors, and forms; there are more
sizes, colors, and forms; there are more
organic elements into its most essential
into its most essential components
than 20,000 known species of this
than 20,000 known species of this
components that interests Garibaldi.
that interests Garibaldi. He sees his
organism. They occur in many different
organism. They occur in many different
He sees his role as an artist as being
role as an artist as being analogous to
environments, from humid sea level
environments, from humid sea level
analogous to this function, breaking
this function, breaking down ambitious,
conditions, to high elevations up in the
conditions, to high elevations up in the
down ambitious, abstract ideas into its
abstract ideas into its essential
alps, and everything in between. This
alps, and everything in between. This
essential components and then utilized
components and then utilized as
organism can grow on many different
organism can grow on many different
as important tools for our daily lives.
important tools for our daily lives.
surfaces, but are particularly abundant
surfaces, but are particularly abundant
on bark, leaves, mosses in rain forests
on bark, leaves, mosses in rain forests
Lichens come in a wide variety of
Garibaldi’s investigation into fungi
Garibaldi’s investigation into fungi
and woodland, but lichens can also
and woodland, but lichens can also be seen
then led him to the lichen, a composite
then led him to the lichen, a composite
be seen living on rock surfaces, walls,
living on rock surfaces, walls, and roofs.
organism that is never “born” in
organism that is never “born” in
and roofs. The lichen comes to being
The lichen comes to being through the
the traditional sense of coming
the traditional sense of coming into
through the contingent requisite of
contingent requisite of both fungi,
into being, but rather arises from
being, but rather arises from algae
both fungi, in its inability to harness
in its inability to harness nutrients
algae and a symbiotic relationship
and a symbiotic relationship among
nutrients through photosynthesis, and
through photosynthesis, and algae, which
among filaments of fungus. This
filaments of fungus. This combined
algae, which requires certain conditions
requires certain conditions of humidity
combined life form has properties
life form has properties that are
of humidity and conditions for it to
and conditions for it to thrive; fungi
that are fundamentally different
fundamentally different in comparison
thrive; fungi filaments provide a shelter
filaments provide a shelter that happens
in comparison to its component
to its component organisms. Garibaldi’s
that happens to also be ideal for algae
to also be ideal for algae to grow.
organisms. Garibaldi’s analysis into
analysis into lichen provides the primary
to grow.
lichen provides the primary framework
framework into his presentation of
into his presentation of new works
new works in Quiescent. In Garibaldi’s
The Lichen is fascinating to Garibaldi.
Garibaldi. The notion that the lichen
in Quiescent. In Garibaldi’s view, this
view, this creature is fascinating with
The notion that the lichen has no
has no conventional birth (reproduction
creature is fascinating with regards
regards to the several qualities that
conventional birth (reproduction
through same species, or usual
to the several qualities that make it
make it unique.
through same species, or usual
incubation methodology) is analogous to
unique.
E
S
C
E
N
The Lichen is fascinating to
T
8 / 8
P RE FACE
9 /9
PREFA CE
Q
Q
U
U
I
E
S
C
E
N
I
incubation methodology) is analogous
how he sees ideas in the context of the
Biology Laboratory (Insitut Teknologi
Bandung), a foundry that produces metal
to how he sees ideas in the context
21st century. To Garibaldi, pioneering
Bandung), a foundry that produces
sculptures, as well as his own studio.
of the 21st century. To Garibaldi,
breakthroughs in any field are based
metal sculptures, as well as his own
It is with the facility of his the
pioneering breakthroughs in any field
not out of pure original inspiration
studio. It is with the facility of his
university laboratory that he has
are based not out of pure original
but rather developments of a complex
the university laboratory that he has
conducted research on how lichens
inspiration but rather developments
confluence of thoughts, experiences,
conducted research on how lichens
grow on both micro and macro levels, and
of a complex confluence of thoughts,
and environments. The notion that
grow on both micro and macro levels,
how he may utilize lichen as a medium
experiences, and environments. The
symbiosis between two diverse organisms
and how he may utilize lichen as a
or reference for his work. Garibaldi
notion that symbiosis between two
is necessary for the growth of lichen
medium or reference for his work.
celebrates the notion that his works
diverse organisms is necessary for the
is also significant. Similarly, it is the
Garibaldi celebrates the notion that
are, in a way, not his own, but are
growth of lichen is also significant.
notion of the need for collaborative
his works are, in a way, not his own,
resulted from working together and
Similarly, it is the notion of the need
practices, cooperative engagement that
but are resulted from working together
learning from others. He looks and
for collaborative practices, cooperative
Garibaldi emphasizes in Quiescent.
and learning from others. He looks
examines how to take those things that
engagement that Garibaldi emphasizes
Just as it becomes more difficult to
and examines how to take those
are often overlooked or underappreciates
in Quiescent. Just as it becomes more
identify the distinction between algae
things that are often overlooked or
and recontextualizes those things and
difficult to identify the distinction
and fungi through lichen, Garibaldi
underappreciates and recontextualizes
in doing so deepens our understanding
between algae and fungi through
attempts to show that the boundaries
those things and in doing so deepens
of what he communicates.
lichen, Garibaldi attempts to show that
between his creative processes and his
our understanding of what he
the boundaries between his creative
more research-based, scientific approach
communicates.
processes and his more research-based,
are blurred.
scientific approach are blurred.
T
In Larcitura
#
E
S
C
E
12, Garibaldi constructs
a large-scale sculpture made out of
In Larcitura # 12, Garibaldi constructs
brass with an imagined lichen as its
Garibaldi worked in and through three
a large-scale sculpture made out of
reference. An aspect of the sculpture of
Garibaldi worked in and through
different facilities in creating and
brass with an imagined lichen as its
note is that its visual form appears like
three different facilities in creating and
producing his works for this show:
reference. An aspect of the sculpture of
a three-dimensional rendition of one of
producing his works for this show:
the Bandung Institute of Technology
note is that its visual form appears like
his drawings. The form of the sculpture
the Bandung Institute of Technology
Biology Laboratory (Insitut Teknologi
a three-dimensional rendition of one of
takes some semblance to its natural
N
T
10/ 10
P RE FACE
PREFA CE
11/11
Q
Q
U
U
I
E
S
C
I
his drawings. The form of the sculpture
lichen counterpart, but is then taken
to engage and collaborate with others,
be initiated through the sharing of
takes some semblance to its natural
further, skewed, abstracted, further into
and to find new ways that “life” may
ideas together to reach towards new
lichen counterpart, but is then taken
something that would be familiar in the
be initiated through the sharing of
discoveries.
further, skewed, abstracted, further
universe of Terhah instead. The patina
ideas together to reach towards new
into something that would be familiar
of the sculpture takes hues and colors
discoveries.
in the universe of Terhah instead. The
that are much more akin to and organic,
patina of the sculpture takes hues and
earthy origins. Taking this work a
colors that are much more akin to and
step further, Garibaldi treats Larcitura
organic, earthy origins. Taking this
# 12 further through heat and humid
work a step further, Garibaldi treats
conditions to allow lichen to grow on
Larcitura # 12 further through heat
the surface of the work, something that
and humid conditions to allow lichen
traditional sculptors almost always tend
to grow on the surface of the work,
to prevent.
E
Jun Tirtadji
Jun Tirtadji S
C
something that traditional sculptors almost always tend to prevent. E
N
T
In Quiescent, Garibaldi interlaces drawings, language, sculpture, and
In Quiescent, Garibaldi interlaces
installation to draw us deeper into the
drawings, language, sculpture, and
universe of Terhah. But even more
installation to draw us deeper into
importantly, he attempts to share with
the universe of Terhah. But even more
us his philosophies and worldviews. He
importantly, he attempts to share with
invites viewers to challenge and wrestle
us his philosophies and worldviews.
with their own misconceptions, or
He invites viewers to challenge and
to appreciate the seemingly invisible
wrestle with their own misconceptions,
things around them. To encourage them
or to appreciate the seemingly invisible
to engage and collaborate with others,
things around them. To encourage them
and to find new ways that “life” may
E
N
T
12/ 12
13/13
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
T
T
14 / 14
15/15
Q
Q
U
U
I
I
Lartucira #1 brass 200 Ă— 250 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
16 / 16
17/17
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
Lartucira #2 lichen on fibre glass mounted on alumunium T
94 Ă— 188 cm 2016
T
18 / 18
19 /19
Q
Q
U
U
I
I
Lartucira #3 acrylic on paper 120 Ă— 175 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
20/ 20
21/2 1
Q
Q
U
U
I
I
Lartucira #4 acrylic on paper 120 Ă— 175 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
22/ 22
23/2 3
Q
Q
U
U
I
I
Lartucira #5 acrylic on paper 120 Ă— 175 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
24 / 24
25/2 5
Q
Q
U
U
I
I
Lartucira #6 acrylic on paper 120 Ă— 175 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
26 / 26
27/2 7
Q
Q
U
U
I
I
Lartucira #8 acrylic on paper 170 Ă— 120 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
28 / 28
29 /2 9
Q
Q
U
U
I
I
Lartucira #9 acrylic on paper 120 Ă— 180 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
3 0/ 30
31/31
Q
Q
U
U
I
I
Lartucira #10 acrylic on paper 120 Ă— 200 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
3 2/ 32
33/33
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
Lartucira #11 T
acrylic on paper Lartucira #11 520 × 300 cm (four pieces) 130 × 300 cm (per piece) 2016
T
3 4 / 34
35/35
Q
Q
U
U
I
I
Lartucira #12 Brass 80 × 130 × 250 cm E
2016
E
S
S
C
C
E
E
N
N
T
T
3 6 / 36
37/37
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
Lartucira #14 T
live video sound installation mushroom, eyecam, speaker variable dimension 2016
T
3 8 / 38
39 /39
Q
Q
U
U
Lartucira #15 (left) mushroom substrate, plaster, iron I
110 × 100 × 210 cm
I
2016
E
Lartucira #16 (right)
E
mushroom substrate, plaster, iron 100 × 80 × 120 cm 2016 S
S
C
C
E
E
N
N
T
T
4 0 / 4 0
41/41
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
T
T
4 2/ 4 2
43/43
Q
Q
U
U
I
I
E
E
S
S
C
C
E
E
N
N
T
T
4 4
45
Aleph’s permutations unspoken words made concrete
Roy Voragen
xurmuxxixurm murpanuahlahem somkiluhahnijngerhahoh murnuhahlamur perkungwonakkicuymara ngeogremahusgreoklakgr ebuah presturkongngeliungeliui rmowatipleklokcuokpartu aktuakwiswunleonpliuypl iuyngarplipleopurcuahcua hlangsukuyaktartalumach wirmustoyurutunumupar yauntunkleohronmenspn espnescukmosmokimarci ngpuarherkey 27782 plenokocurtingkurakaklir kluroxuhuwuhuarngarpu kleoronceywuyruhuahhua hpercekelekexiurmantixu axuameiplenohanukoalua ehoyplehakhuaypurtuluak
4 6
47
sulikuyahlinglismurlewele weurwuhuxweh phuoyciuklengkinsukplus mreoksujuarnanworkuluk weyonmus 24112 24092 pnohmohcuktuspanghep ermautukxemosmunpersi ngtusujibanuhpormestoa nguakcuadoplinsorehlur mautukoahnununupnekn omohklurmumukoahmu hjagapurkleoahmarmusro kxiklautoxexesuahprestco heplepohokwhekwhos 22722
jahmuamuamustaanukcu huntanukperngasorlertua sur 22333 sumilayupuruaouuhayuha ytarmukeywomegnuhulih ulihsumarauylanghuyurli nghusukperluatakcurpern gisluxurximklorcusoswoo
rcleolurmusxucuayorkme nplohcuangmurahcucule nghoutuepokbarsonplina heorpwistaroklarhuyoksul iatuhxeuxeurlemkongsula ngsunuk 21172 lurumutupuastoayxuxamo n 21082 menyorchaxuxoser 20932 phormuaylemanhuussusu ahahkluyriiahmarsuxoroa hbuhklimertutukpurcanu kpurnyaahlemuntauhporl unakplinistklurumutupur mahoh 20132 lkuklkucpnehpnuhukopli o 18912 18872 18852 18832 wormaniturjanoiuhiuhleo 18732 whokleo 18692 18652
uklomincusmoanxisukliu hwernocolorwuhaksuaum uhlirnusduparmalukrukli
4 8
49
urepoksorbanliklumnuwh oklaksukiliuprehohah 18372 18362 sumnuah 18252
sujklemrujnuassukliohnu huahuakarhusuyrumliuhk uarciuaasingtuaksuniauhg normatih 17922 17902 curplenokknercuoyluarjua rmarmusakperuloy 17742 wormukkomcugus 17712 termuahmancohoyrumjat isukohaheuuaircuhrujkili ngarngor 17482 17412 sujniahmnehohohpaucac aceplingcuyngisngasmarn guaswehtoyproakeysukila hkortamersumahajplukta kmarkecukpluksaklerpum ahlengkriuwhiahehrumb uahwuayoklomanurmurkl ukmusngurparktuklormat aklunghoywormeklekluh
oiiuiuuiuipnencur 16632 curmuluymarkanoh 16572 kriucun 14623 carmaknuypentoehuoahb uhahplincunperilukgustu rah 16272 cisminxiaplangus 16202 cuakermonujmioklaxursu ukiuki 16122 16103 2 ngismur 1605 gusrujah 16023 sukiop 15992 plincomkerpanuhwercom 15922
kurpuayrujukahngikmusg usnuhah 15812 cormatugbismurcerlerhuy rcingkuram 15662 curmulukkernamakoues men 15612 klypliybismurnahlwertio 18512 laruluyparnuak 15472
laknuhahsukikibosmircer
5 0
51
kesukuyrokweslaeoleou
14772
15312
uuuaaeliksungkruanunper ulak 14652 kmerloyimkuluy 14613
15302
achomeynuachicmuay 15243 kertoyu 15202 15142 kurtumamentausoahklew
14762
14552
15062 15013
rukmahrukakhjarheoh
xexomehkermoimoimort uesolakwuyurmleheormes urniahihtarcuiksulikuykm aynuaeocurmuakuyporcul enparkuyakkrookwukrum niuhpreleluolurmahunoaj uriwihuhahah 19542 xexames 19512 wangsoylengkroaopercua oyujminuk 19312 plusdokgrinuhmuhpernu nakkermunuyplerotansu mjaussujikunparlinukwoa rmus oahkilutowwey 14932 sikiwahmlekcurkomplun kperhus 14792 mnehkon
14462
larnuuhnuhahihklontok 14354
marpuahmurhoylermung gusmuruklukbukpuhpahp yaoaksihuahwonkapercia hlengkukkleotukwaeoehc ingsmoyulopiplenoscurm alunrohcincurmiklulaksu ng 13773 pnehonlurpujpkikik 13682 13652
wohahcurmuhahklemouk morsomsosewuhihuukiki rumuhangkurcahgusbuah asoswarumkijehoyaiuejah yuohmartoykompliesukli hemlauhenuhihu 13332
5 2
53
gushahahkermujak 13242 13222 13212 gusbarah
ciahmuolcurngiybligugug
1317
ksenokekmiruhlasnuhruk mlarnuhkartuo 11322 siluiiiuaohkermutiwhojar wuhmahrajehohmoy
3
muerokeouiouaapercugso liulangcurperconkusnur 13012
12993
12972
uwewfirmunuplihansosoa kuntuk 12812 cuakcauyoahsrikurnukoa hnuh 12722 kermoeoiplanoahlewwio mngleoskartwuy 12392 henlokulakngaskleocir 12312 jarmuah 12282 lemikoy 12242 clukcliklakmuy 12172 klorusuwah 12122 12102 12082
kliruwukioantamunpluasl oksem 11992 marcukewohwah 11832 mnemne 11802 11722 11712
11482
11442
11154
laknopmaceukkartukkerb uwckirtukrulikleohaakliw ih 10973 oumak 10922 jarnusmangsaiimutuladn urnurahiauhahmlehloh 10723
piangewoliahcinghoykarn ukjahyuhkirmaupahohcur planfermaujarmuhjarnuh gusgusgustuhjarwih 10472 10462 mnongabunduhi 2 1041 gusnuh 10382 khuakhcaurtopklombihe mpur 10292 muhafhemhoxgernutybus tura 10222 cuahkuk 10172
5 4
55
10163
10132
lokokcikulokcurmiaotahh artukcucomescparnuh 9982
jahmuheweaweafehsuahe mlouyklenasjarbluhempu hckarmuhblokoro 9802 harsuh 9772 ioamunangmohahckuano srujceauyenmaiuhmboarc iauyuounruhiesasuiiaalen gremukciaueyoabindihug usmuhergomegbartuokng ukekmoitburtuahblofuoh klormlehorkermutekmoir fermuhgritihgerkok 9112 9094
cukcuyiueoahcsarnumcuk murgushah 9002 jatuhcuarmia 8922 eworahekmkohucingkoye eoaiuehehjuhcangkun 8822 curmiu 8802 8792
iaaugugronal 8742 cenamos 8714 8702 curmisiburuhempahanor merluay 8622 kluah 8582 8574 8562 klone 8543 8512 ijlurburmuy 8372 cirmoycicaucu 8302 ekmolicurborcelamaymbe rhemhahblokorekjuah 8112
graoakcurkarmiaheholokt ugcekwazburmuseiiurejah uhjarkliehmuhicockurahu ahokkwehciknur 7722 busuyablomuu 7632 7603 ernoycurmaifeyuhekohah cuakokcocaceu 7452 knoh 7402
isnahcuknahehuyocukhak cualayaoaikikbirjukmar 7122
cuakikaiaikokgreokklogm akoaaunmuhbuyoahchati
5 6
57
kbirmuh 6852 6842 6802 ekmorkumehahihceknoh 6532 irmo 6532 carpinhahemeknohehahe hekmohblocko 6372 cuicaibirtakasgluhehopiae okurgehemekwea 6103 lakhemaaeholiewlu 5792 aormeh 5713 kinebuah 5652 burtuebahafiopcauoy 5452
ceiueahaohiuoeblerauntu enom ekwaehuhiercuiybuxiabuy ah 4692 ehom 4652 hihebus 4612 eburhembliewaklurbujfaf uhehohfopbligucarbubire seacakberolchengcung 4202
fihehehastahblawafiebuy obuoratoahfu 3602 buxiebakaguarewcukebub
yuhckaieoasmoblasburan ohbleebldau
5 8 / 5 8
Q
59 /59
PS. mutating vowels and consonants
Q
U
U
I
E
S
I
Syaiful Aulia Garibaldi (a.k.a. Tepu)
A language ceases to exist when there
I have been writing for 25 odd years.
dictionary entries, miscalculations (I’m
created the (fictional) language Terhah
are no longer any active users. It’s safe
And yes, I’m voraciously obsessed with
not exactly a wizard with numbers),
(http://syaifulgaribaldi.com/en/terhah-
to assume that a language doesn’t come
words, and commas too. For the past
typos, words blown off my desk, and
lang) and I turned its dictionary into
into existence in a laboratory setting.
decade or so, I have been writing in an
etcetera. Writing by means of a set
a concrete poem. I assigned a score
An artist, however, is of course free
alien language, bending it back- and
of self-imposed constraints and rules
to each entry of the dictionary and
to leapfrog to a jenseits, challenging
forward to give it my own rhythm.
is insightful, because it offered me a
subsequently re-arranged the content
gravity, all the while ignoring the
No longer versatile in my native
new form of writing, and an altered
to focus on the tangible materiality
conventions of logics. Adempauze. And
tongue, out of touch and practice,
experience of the writing. By ignoring
of vowels and consonants. The new
then challenge us.
I have started to see my in-between
the romantic notions of originality and
position as a blessing-in-disguise: when
creativity (mistakes that come with
text, therefore, doesn’t represent an C
experience, a slice of reality, an image
Perhaps Terhah could be the language
meaning is no longer experienced as
repetition still assure unoriginal yet
but is experience, a slice of reality,
of a – imaginary – small Polynesian
natural – when the holy trinity of the
idiosyncratic results) and embracing
image.
tribe living on an isolated island in the
real, signifier and the signified become
contingency, I wrote a poem I couldn’t
Pacific Ocean. And yet, perhaps not.
a distant dream – in what directions,
have imagined 15 or even 5 years ago.
Terhah, I thought ‘what? really? no,
Or is Terhah only metaphorically a
liberating to take meaning out of
And dear readers, feel free to create
can’t be, right?’
language? Like Morse Code or HTML.
the equation – or, at the very least,
further permutations out of these
I’m not sure if this is an avenue worth
bracket connotations of words for
mutated vowels and consonants so that
exploring.
the time being (we are instinctively
the text can flourish – morphing the
drawn to sense meaning here, there and
thesaurus in yet another configuration,
everywhere).
breeding its own bastards.
Terhah has no native speakers, and N
T
S
C
then, can words be pushed to? It’s
When I first heard a rumor about E
E
its dictionary only contains, give or take, 971 entries (at least the version
What, though, if we read the Terhah
I received from ROH). The Terhah
dictionary as a poem? Then the only
thesaurus is silent on syntax, leaving
possible interpretation is another poem,
For writing the poem based on
Roy Voragen is a Bandung-based writer
words in a state of dormant limbo.
as Harold Bloom once wrote. And
Terhah repetition was a fundamental
and curator (issuu.com/royvoragen)
to get out of the orbit of the first, the
component. And tedious repetition
second poem needs to be a deliberate
begets mistakes: wrongly copied
misinterpretation.
E
N
T
6 0 / 6 0
61/61
Q
Q
U
U
I
I
Syaiful Aulia Garibaldi
Selected Group Exhibitions
Born in Jakarta, July 16th 1985
•
2015 Education
E
•
•
BFA Majoring Printmaking, Faculty of Fine Art and Design,
•
(ITB), Bandung, Indonesia •
Agronomy, Faculty of Agriculture, University of Padjajaran (UNPAD),
• Solo Exhibitions
• E
Quiescent, ROH Projects, Jakarta
•
Interstitial Terhah, ROH Projects, Art Basel, Hongkong
•
Pearllam Gallery, Singapore
N
•
•
2012 •
•
Bandung T
Indonesia
Indonesia
Trick or Truth, Fang Gallery,
Indonesian Contemporay Fiber Art, Art:1 Museum, Jakarta, Indonesia
•
•
C
Un-segmented, Galeri Kita,
•
Manifesto, Percakapan Massa, Galeri Nasional, Jakarta, Indonesia
•
3, Selasar Sunaryo Artspace, •
Bandung, Indonesia Post Historia, Building Enterprise
Bundaries Lawang wangi,
1, Singapore
Bandung, Indonesia
Artground, Bandung, Indonesia What do Pictures Want, Art:1,
Nasional, Jakarta
Jakarta, Indonesia
E
Bandung New Emergence
Design Art Renegotiating
Trienalle Patung 2, Galeri
Typotopia, The 2nd Korea
Galeri Kita, Bandung, Indonesia
•
Wahana Extranoema, Padi •
Soedjojono dan Kawan-Kawan,
Bandung, Indonesia
Museum, Singapore
South East Platform, Art Stage,
•
Jakarta, Indonesia
•
S
2010
2012
•
Pameran Ilustrasi Cerpen KOMPAS, Bentara Budaya,
Lawangwangi, Bandung,
•
E
Jakarta, Indonesia
Prudential Eye Zone, Art Science
Japan New Media Art Festival,
•
Windows Project, Niort, France
Pameran Finalis BaCAA #3,
2014
•
Contemporain, La Rochelle,
•
Now: Here-There-Everywhere,
Hybrid Project: The Butterfly Effect, Barli Museum, Bandung,
Archive Residencies Exhibition,
Myco Expo, Aula Barat ITB,
•
Lumieres, ’L espace
Pressing, VideoInsight, Turin, Italy
ABC Learning Town, Siheung,
Survey #2.10, Edwin Gallery, Jakarta, Indonesia
2013
Singapore
•
•
Recognition System, Kuandu
France •
Selasar Sunaryo, Bandung Regnum Fungi, Padi Artground,
Exhibition, Lotte Venue, Jakarta
•
Semarang Gallery, Semarang
Abiogenesis: Terhah Landscape,
2011
Getok Tular, Omni Space, Bandung
Bandung •
2014
Family and friends, ROH Projectss,
South Korea •
2016
Effervescence, ROH Projectss,
Jakarta •
Bandung, Indonesia C
•
Gillman Barrack, Singapore •
Indonesia Media Installation Art
Bienalle, Taipei, Taiwan
Alam/Benda, Ark Gallery, Yogyakarta
Bandung Institute of Technology S
•
N
Monoprint, Grand Indonesia, Jakarta, Indonesia
•
Lets Bounce, Grand Indonesia, Jakarta, Indonesia
•
Almost White Cube, CG Fine Art, Jakarta, Indonesia
T
6 2/ 6 2
63/63
Q
Q
U
U
I
I
2006
2009 •
Post Mortem, Vanesa Artlink,
•
Jakarta, Indonesia E
•
•
Inhabitant, Galeri Padi, Bandung,
•
•
•
Parbinula Jarkuli, Aarmuh Space,
Ka Art Ini, UNJ, Jakarta, Indonesia Black Hole, Drawing Exhibition,
Zoo, Soemardja Gallery, Bandung,
•
KGB, Bandung, Indonesia
2015 •
Tanda Kota, Group Exhibition
2014
Pocong Dago & ButonKultur,
•
•
US/Industry, Galeri Rumah Teh, Bandung, Indonesia
2010, Selasar Sunaryo Art Space,
Gallery Nasional, Jakarta
Bandung, Indonesia
•
Contemporary Art Awards #3,
Yogyakarta, Indonesia
Bandung, Indonesia
Workshop on Spore Print, Komunitas Growbox, Reading
2012 •
•
Finalist of Triennale Seni Grafis 2, Bentara Budaya Jakarta, Jakarta, Indonesia
and Dry Point Experience, THR Ir. H. Juanda Bandung, Indonesia
N
2005 •
The 2nd Winner of Mural Competition, Cihampelas Walk, Bandung, Indonesia
Self Portrait Mushroom Hunting
E
2006
Indonesia
Lights, Bandung, Indonesia
Talk #3, Lawangwangi, Bandung
Best Artworks, Bandung
Terhah Wall Text, Gudang Tom
Extranoema, Wahana Extranoema:
C
2013
Performans, Galeri Padi, Bandung,
2015 Artist In Residencies Program, Art
S
Aarmuh, Collaborative Space
Awards
•
Pameran Sebagai Sebuah Centre Intermondes, La Rochelle,
Ta l k A n d L e c t u r e r
•
•
Performance, 9m15s, Yogyakarta,
2013
France
Scale, 15×15×15 Project,
Indonesia
T
•
•
Soemardja Gallery, Bandung,
Seminar Seni Patung Sekarang,
2015
•
South Korea
E
Workshop with Takao Minami (JP )
2008
ABC Learning Town, Siheung,
2007 •
•
Indonesia Art Recidencies
•
New Media, Nu Subtance Festival
Projects and Workshops Self Portrait, Ruang Alternatif
2010
2014
UPI, Bandung, Indonesia
Jakarta, Indonesia
N
Presentation on Asia Pacific Platform ArtStage, Singapore
2005
Indonesia •
•
Seni Grafis Indonesia Sekarang,
Indonesia •
Exhibition and Workshop, Graphic
•
Tembi Contemporary, Yogyakarta,
E
Kota, Bandung, Indonesia
•
Ciburial, Bandung, Indonesia
C
Drypoint”, Komunitas Sahabat
ITB, Bandung
Indonesia
Indonesia
Lingkar Belajar “Urban sketch and
Art at Magister Program FSRD
Survey #2, Edwin’s Gallery,
Going Beyond, CMNK, Bandung,
•
Budaya, Jakarta, Indonesia
Art, Semar Gallery, Malang,
2008
Guest Lecture on Methodology
Triennale Seni Grafis, Bentara
Indonesia
Jakarta, Indonesia S
•
•
T
ROH