Nindityo Adipurnomo: Rhinolophus Sinicus

A SOLO EXHIBITION @ D GALLERIE JAKARTA

In One Breath

ON THE DAY when we were writing this curatorial essay, the World Health Organisation had just declared the global health emergency status of Covid-19 is over1. After more than two years, we have finally come to terms and live side by side with the continuously mutating virus. When we look back to the year 2020, during the time of crisis, precarity, and collective trauma; it was hard to imagine life after the anthropause2. It was during that collective long pause too when human activity worldwide was reduced temporarily, giving a much needed moment for the earth to breathe and regenerate. Now, we have finally reached the end of the tunnel.

The pandemic was a deeply personal collective experience. We are all experiencing it together and yet, it leaves personal marks for each and every person in different ways imaginable. We were all

living in a historical moment and to keep a personal record of it could also mean being an active part of the history of world civilization. The role of artists and writers is vital here to document these interesting times we are living in for the future.

In 2021, Nindityo Adipurnomo started a new series of work as his personal way of keeping records about the pandemic. Titled “Rhinolophus sinicus”3 , the project uses an era-specific medium to recall new embodied gestures that mark the social as well as political impacts of the pandemic. Focusing on exploring the aesthetics of the social phenomena during the pandemic, the artist uses his personal embodied experiences and responses in the face of the ongoing socio-political turmoil. Throughout the process of making the series of works, his notes grow and his readings widen—from the simple gesture

"...the artist uses his personal embodied experiences and responses in the face of the ongoing socio-political turmoil."

of wearing a face mask during the pandemic to the conversation about gender inequalities, biopolitics, climate catastrophe, environmental pollution, humanitarian crises, wars, identity, religion, and territory. Unfortunately, it was not that much of a stretch. The pandemic did resurface and poke at how unsustainable our old ways of life were. It shone a particular spotlight on the ecological crisis and inequalities of the world. A series of installations, titled “Earth Crown #1 & #2” (2022) is his tribute and ode to the earth amidst this madness and crisis of the world.

For a moment, we were all fighting for something on top of the virus: patriarchy, racism, fighting for environmental sustainability, and so on. For a moment, we all dreamed of a better new world after the pandemic: of living more sustainably, leaving

"Apparently, even a pandemic of such magnitude can eventually feel like something of a distant past and forgotten times."

the old normal, traveling differently, and being more responsible for how we live our daily life. But, as soon as the pandemic is over, humans rush to live a life as we knew before, air travel surges and the earth is left with more waste. Apparently, even a pandemic of such magnitude can eventually feel like something of a distant past and forgotten times. As the crisis averted, did we let the learning evaporate and rush back to the way we lived before? Within the pandemic year, did we have time to internalize the lessons or even turn them into a revolution?

Nindityo’s observation of the gesture of everyday life during the pandemic started with people’s personal relation to masks and their liberty of how to wear them. Presented in the “Sound of Masker” (2021), this painting composed of colorful masks on canvas is a portrayal of how personal gesture and embodied experience of the citizen changes alongside the government’s requirement to wear masks collectively and en masse. The suggestion kept changing from cloth masks, KN95, to surgical masks combined with cloth mask, and so on. Personally, it was the gesture of using cloth masks at the beginning of the pandemic that formed Nindityo’s relationship with them. Even after he shifted to the surgical and medical-grade mask, he kept the habit of washing and keeping them.

The gouaches, ink. acrylic/charcoal on paper series titled “Leaks in The Jargon of ‘Working from Home’” (2021) notes Indonesian citizens’ obedience in implementing health protocols– from keeping their distance, working from home, to mask-wearing. One phenomenon that caught Nindityo’s attention is the

community’s initiative and creativity in anticipating mask supply that did not meet people’s demand during the panic-buying era. This precarious condition triggered a collective solidarity movement of sewing their own cloth mask to distribute and give away–especially to the essential workers and those in need. Alongside the pandemic, a surge of citizeninitiated solidarity movements are popping up; from free masks to providing meals and groceries to those who need them, creating a platform for promoting friend’s business and income redistribution, to lending and hunting for oxygen tubes during the oxygen crisis. The pandemic was a collective trauma that shed light on the inequality of the society–yet, the citizens responded in a way that mutual cooperation and solidarity are flourishing and kept alive: a true spirit of gotong royong.

The installation, titled “Lenguh Para Fascist” (20212022) consisting of four toa loudspeakers clogged with seams of masks was inspired by the situation where the tightening of health protocols was at its peak. The suggestion to limit physical interaction, the call to wear a two-layer mask outside one’s home and the optimization of screen-based communication shows a number of interesting impressions for the artists. As the economic system shifted toward a more physically-distanced day to day activity; the religious rituals shifted in a way that complied with the health protocols too. The four toa loudspeakers clogged with masks represent the formality of six types of religions and beliefs that are politically recognized in Indonesia and how religious gathering changes during the pandemic.

Moving toward Nindityo’s concern about gender inequalities are the series of paintings, titled “Pandemic and Women’s Garland #1 & #2” (2022) and “Pandemic and Trophy for Men (Men’s Garland)”

(2022). Upon pondering on the massive consumption of personal hygiene products, Nindityo started to reflect on the gestures and habits of mask wearers according to their genders. He observes how even though mask-wearing rules are independent of one’s gender; the obedient male mask-wearer around him would instinctively lower his mask when greeting and talking. He wonders if it is true that women were more likely to wear masks properly during the pandemic. Are men less disciplined because wearing masks might threaten their masculine image? Or was it because suddenly, rules and dress codes are imposed on them?

"As the economic system shifted toward a more physically-distanced day to day activity; the religious rituals shifted in a way that complied with the health protocols too."

The two series of works, “Rubel Dollar Euro #1 & #2” (2022) are still circling around masculinity and the crisis that eventually leads to war. The first edition of this series consists of a video installation with three carpets of maskers and objects surrounding a video projection. In the video, three male figures are playing as the tension slowly rises and soon it all heated up. The second edition of the series consisted of three smaller size paintings composed of printed masks, gouaches, and acrylic on canvas. The images of three different currencies are small and seemingly insignificant amidst the plain blank space around them.

Finally, the last work “Mono Human Being - The Ballade of Human Emission #b” (2023) is an arrangement of terms that the artist uses arbitrarily to represent his way of expressing the slips and failures of “modernism” and the anthropocentric era. This rattan installation is a broader and holistic contemplation of death—the death of humanity, the metaphoric death of the anthropocentric era, and death as part of the cycle of life—a process of renewal as well as regeneration.

In the process of making this exhibition, the artist found a plethora of bodily experiences that helped him distinguish between masculinity and femininity within himself. This gesture of keeping the mask from getting into the landfill is one of them. It is reinterpreted into artistic format as his act of care. For Nindityo, the most striking sight that keeps popping into his head is the used masks that are scattered on the village streets, absorbing flecks of nameless dirty liquid in gradations of colorful absorption. Later, these surgical masks

are no longer considered masks but an era-specific detail of his chosen material to create a painting. Not only experimenting with the medium, he opted for more sustainable options for his work.

Opting for sustainability is part of personal responsibility in the face of the surge of medical waste such as disposable suits, masks, and gloves among others that have overflown our landfill. A study suggested that the Covid-19 pandemic is estimated to generate up to 7,200 tons of medical waste every day4. At this point, the choice of medium became part of his politics and artistic vocabulary.

As an artist who was formally educated in Rijksakademie, one of the most prominent art academies in the world, with artistic practice spanning more than three decades; Nindityo is fluent

"His artistic choices

became part of his

politics and were

perfected with meticulous production."

in experimentation across mediums to deliver his thesis, observation, and long-term research. His artistic choices became part of his politics and were perfected with meticulous production. His projects are often research-based and grounded in a socio-political context. Every now and then, he would courageously challenge the established pattern of creating his own work. In the “Rhinolophus Sinicus” project, he made an important point that succeeded in demonstrating his expertise in playing with multiple mediums in manifesting his political stance. Each of Nindityo’s works is a fragment of a time-specific phenomenon that is intended to capture layers of problems, presented in a whole rounded discourse, experience, and embodiment of his thorough observations in socio-political complexities at a specific period of time– an important note of a recently passed collective history.

May 5, 2023, LIR (Mira Asriningtyas & Dito Yuwono)

"In the “Rhinolophus Sinicus” project, he made an important point that succeeded in demonstrating his expertise in playing with multiple mediums in manifesting his political stance."

1) On May 5, 2023; The World Health Organization declared the worldwide health emergency of covid-19 over. It is now determined that COVID-19 is now an established and ongoing health issue which no longer constitutes a public health emergency of international concern (PHEIC). World Health Organization, “Statement on the Fifteenth Meeting of the International Health Regulations (2005) Emergency Committee Regarding the Coronavirus Disease (COVID-19) Pandemic”, World Health Organization https://www.who.int/news/item/05-052023-statement-on-the-fifteenth-meeting-of-the-international-healthregulations-(2005)-emergency-committee-regarding-the-coronavirus-disease-(covid-19)-pandemic (accessed on May 7, 2023).

2) Anthropause, a term coined by Rutz et al, defined as a significant temporary reduction in human activity worldwide, as during a pandemic, that noticeably affects environmental phenomena such as levels of air pollution, the movements of wildlife, and even seismic noise. Rutz, Christian, Matthias-Claudio Loretto, Amanda E. Bates, Sarah C. Davidson, Carlos M. Duarte, Walter Jetz, Mark Johnson, et al. ``Covid-19 Lockdown Allows Researchers to Quantify the Effects of Human Activity on Wildlife”, Nature News, Nature Publishing Group, June 22, 2020 https://www.nature.com/articles/s41559-020-1237-z (accessed on May 7, 2023).

3) Knowledge of the origin and reservoir of the coronavirus responsible for the ongoing COVID-19 pandemic is still fragmentary. To date, the closest relatives to SARS-CoV-2 have been detected in Rhinolophus sinicus (the Chinese rufous horseshoe bat) sampled in the Yunnan province, China. Delaune, Deborah, Vibol Hul, Erik A. Karlsson, Alexandre Hassanin, Tey Putita Ou, Artem Baidaliuk, Fabiana Gámbaro, et al. “A Novel SARS-CoV-2 Related Coronavirus in Bats from Cambodia”, Nature News, Nature Publishing Group, November 9, 2021 https://www. nature.com/articles/s41467-021-26809-4 (accessed on May 7, 2023).

4) Anne Trafton MIT News Office, “The Environmental Toll of Disposable Masks”, MIT News, Massachusetts Institute of Technology, https://news. mit.edu/2021/covid-masks-environment-0720 (accessed on May 7, 2023).

SOUND OF MASKER

Colored masker and wooden ball

107 x 123 x 10 cm

2021

LEAKS IN THE JARGON OF ‘WORKING FROM HOME'#1

Gouaches and charhoal on paper

169 x 64 cm

2021

LEAKS IN THE JARGON OF ‘WORKING FROM HOME'#3

Gouaches, ink, acrylic on paper

70 x 160 cm

2021

PANDEMIC AND WOMEN’S GARLAND #1

Gouaches, acrylic sawn masks on canvas

140 x 190 x 20 cm

2022

PANDEMIC AND WOMEN’S GARLAND #2

Gouaches, acrylic sawn masks on canvas

140 x 190 x 20 cm

2022

PANDEMIC AND TROPHY FOR MEN (MEN’S GARLAND)

Gouaches and sawn maskers on canvas

86 x 220 x 20 cm 2022

LENGUH PARA FASCIST

Colored masker, horn

70 x 70 x 80 cm each (four pieces)

2021 - 2022

EARTH CROWN #1 AND #2

Colored masker and rattan wood 100 x 90 x 25 cm each (two pieces) 2022

MONO HUMAN BEING - THE BALLADE OF HUMAN EMISSION #B

Colored masker and rattan wood

285 x 100 x 40 cm

2023

RUBEL DOLLAR EURO #1

Colored masker, wood, single-channel video 420 x 135 x 40 cm

2022

Printed mask and gouaches, acrylic on canvas

55 x 70 x 9 cm each (three pieces)

2022

RUBEL DOLLAR EURO #2

RHINOLOPHUS SINICUS

Single-channel video, flat monitor

8 minutes

2023

Dalam Satu Helaan Napas

KAMI menulis esai kuratorial ini pada hari ketika

Organisasi Kesehatan Dunia (WHO) baru saja

mengumumkan bahwa status darurat kesehatan global Covid-19 telah berakhir1. Setelah lebih dari dua tahun, akhirnya kita bisa berdamai dan hidup berdampingan dengan virus yang terus bermutasi ini. Saat mengenang kembali ke tahun 2020, selama masa krisis, kerentanan, dan trauma kolektif; sulit rasanya membayangkan kehidupan setelah masa anthropause2. Pada masa tersebut, aktivitas manusia di seluruh dunia terhenti untuk sementara waktu, memberikan waktu yang sangat dibutuhkan bumi untuk bernapas dan beregenerasi. Kini, kita akhirnya telah sampai di ujung terowongan.

Masa pandemi merupakan pengalaman kolektif yang sangat personal. Kita mengalaminya bersama-sama, tetapi hal ini meninggalkan jejak pribadi untuk

Napas

setiap orang dengan cara yang berbeda-beda. Kita yang hidup dalam momen bersejarah dan menyimpan catatan pribadi tentang hal ini bisa diartikan turut berperan aktif dalam sejarah peradaban dunia. Peran seniman dan penulis sangatlah penting untuk mendokumentasikan masa penuh gejolak yang tengah kita jalani demi masa depan.

Pada tahun 2021, Nindityo Adipurnomo memulai sebuah seri karya baru sebagai langkah personal merekam pandemi. Karya berjudul “Rhinolophus Sinicus”3 ini menggunakan medium khusus untuk mengingat kembali gestur baru yang menandai dampak sosial dan politik dari pandemi. Berfokus pada eksplorasi estetika

fenomena sosial selama pandemi, sang seniman menggunakan pengalaman dan respons pribadinya dalam menghadapi gejolak sosial-politik yang sedang berlangsung. Selama proses penciptaan rangkaian

"...sang seniman menggunakan pengalaman dan respons pribadinya dalam menghadapi gejolak sosial-politik yang sedang berlangsung."

karya ini, catatannya berkembang dan pembacaannya meluas mulai dari gestur sederhana seperti memakai masker selama pandemi hingga perbincangan mengenai ketidaksetaraan gender, biopolitik, bencana iklim, pencemaran lingkungan, krisis kemanusiaan, peperangan, identitas, agama, dan politik ruang. Sayangnya, hal itu tidaklah terlalu berpengaruh. Pandemi muncul kembali dan menyentil betapa tidak

lestarinya cara hidup kita selama ini. Pandemi ini menyoroti krisis ekologi dan ketidaksetaraan di dunia. Serangkaian instalasi yang berjudul “Mahkota

Bumi #1 & #2” (2022) merupakan bentuk penghormatan dan ode kepada bumi di tengah kegilaan dan krisis dunia.

Sejenak, kita semua memperjuangkan sesuatu selagi

melawan virus: patriarki, rasisme, mempertahankan

kelestarian lingkungan, dan sebagainya. Sejenak, kita

"Tampaknya, bahkan pandemi sebesar itu pun pada akhirnya bisa terasa seperti masa lalu yang dengan mudah terlupakan."

semua memimpikan dunia baru yang lebih baik setelah pandemi: kehidupan yang lebih ramah lingkungan, meninggalkan kebiasaan lama, bepergian dengan cara yang berbeda, dan lebih bertanggung jawab atas cara kita hidup sehari-hari. Namun, begitu pandemi berakhir, manusia bergegas untuk menjalani kehidupan seperti yang kita kenal sebelumnya, kuantitas perjalanan udara kembali melonjak dan bumi dipenuhi lebih banyak sampah. Tampaknya, bahkan pandemi sebesar itu pun pada akhirnya bisa terasa seperti masa lalu yang dengan mudah terlupakan. Ketika krisis telah berlalu, apakah kita membiarkan hikmahnya lenyap dan bergegas kembali ke gaya hidup kita sebelumnya? Selama tahun-tahun pandemi, apakah kita memiliki waktu untuk menginternalisasikan pelajaran yang didapat atau bahkan mengubahnya menjadi sebuah revolusi?

Pengamatan Nindityo terhadap gestur kehidupan seharihari selama pandemi dimulai dari relasi personal masyarakat dengan masker dan kebebasan mereka dalam memakainya. Disajikan dalam “Suara Masker” (2021), lukisan masker berwarna-warni di atas kanvas ini merupakan gambaran bagaimana gestur personal dan pengalaman yang dihayati masyarakat berubah seiring dengan adanya anjuran dari pemerintah untuk mengenakan masker secara kolektif dan massal. Saran yang diberikan terus berubah dari masker kain, KN95, hingga masker bedah yang dipadukan dengan masker kain, begitu seterusnya. Secara pribadi, sikap menggunakan masker kain pada awal pandemi yang membentuk hubungan Nindityo dengan masker itu sendiri. Bahkan setelah beralih ke masker bedah dan masker medis, kebiasaan mencuci dan menyimpan masker tetap dipertahankannya.

Karya seni rupa teknik gouache, dengan tinta, akrilik/arang di atas kertas yang berjudul “Celah dalam Jargon ‘Work From Home’” (2021) ini merekam ketaatan masyarakat Indonesia dalam menerapkan protokol kesehatan, mulai dari menjaga jarak, bekerja dari rumah, hingga memakai masker. Salah satu fenomena yang menarik perhatian Nindityo adalah inisiatif dan kreativitas masyarakat dalam mengantisipasi pasokan masker yang tidak mencukupi kebutuhan masyarakat pada masa pembelian karena panik atau panic buying. Kondisi genting ini memicu gerakan solidaritas kolektif dengan menjahit sendiri masker kain untuk disebarkan dan disumbangkan terutama kepada para pekerja yang sangat membutuhkan. Seiring dengan pandemi, gerakan solidaritas yang diprakarsai oleh masyarakat bermunculan; mulai dari pembagian masker gratis, pemberian makanan dan sembako kepada mereka yang membutuhkan, menciptakan platform untuk mempromosikan bisnis teman, dan redistribusi pendapatan, hingga meminjamkan dan berburu tabung oksigen selama krisis oksigen. Pandemi ini menjadi trauma kolektif yang menyoroti ketimpangan yang terjadi di tengah masyarakat tetapi, masyarakat meresponsnya dengan bahu-membahu dan menjaga solidaritas agar tetap tumbuh subur: semangat gotong royong yang sejati.

Instalasi berjudul “Lenguh Para Fasis” (20212022) yang terdiri dari empat toa pelantang suara yang ujung dari corongnya disumbat jahitan masker ini terinspirasi dari situasi saat pengetatan protokol kesehatan mencapai puncaknya. Anjuran untuk membatasi interaksi fisik, imbauan untuk mengenakan masker dua lapis di luar rumah, dan optimalisasi komunikasi berbasis layar menunjukkan sejumlah

kesan yang menarik bagi Nindityo. Seiring dengan

pergeseran sistem ekonomi ke arah aktivitas seharihari yang berjarak secara fisik, ritual keagamaan

pun bergeser sedemikian rupa untuk mematuhi protokol kesehatan. Empat toa yang tersumbat masker mewakili enam jenis agama dan kepercayaan yang diakui secara politis di Indonesia dan perubahan cara berkumpulnya umat beragama selama pandemi.

Berangkat dari keprihatinan Nindityo terhadap ketidaksetaraan gender, seri lukisan berjudul

“Pandemi dan Karangan Bunga Perempuan #1 & #2” (2022) dan “Pandemi dan Piala untuk Lelaki (Karangan Bunga Lelaki)” (2022). Setelah merenungkan konsumsi besarbesaran atas produk kebersihan pribadi, Nindityo mulai merefleksikan gerak-gerik dan kebiasaan para pemakai masker menurut gender mereka. Dia mengamati bagaimana sekalipun aturan pemakaian masker tidak

tergantung pada jenis kelamin seseorang; pemakai masker laki-laki yang patuh di sekelilingnya secara

naluriah akan menurunkan maskernya ketika menyapa dan berbicara. Dia bertanya-tanya apakah benar bahwa

"Seiring dengan pergeseran sistem ekonomi ke arah aktivitas seharihari yang berjarak secara fisik, ritual keagamaan pun bergeser sedemikian rupa untuk mematuhi protokol kesehatan."

perempuan lebih cenderung memakai masker dengan benar

selama pandemi? Apakah laki-laki kurang disiplin

karena memakai masker mungkin mengancam citra

maskulin mereka? Atau apakah karena mendadak ada aturan dan tata cara berpakaian yang diberlakukan kepada mereka?

Dua seri karya, “Rubel Dollar Euro #1 & #2” (2022) masih berkutat pada maskulinitas dan krisis yang pada akhirnya berujung pada perang. Edisi pertama

dari seri ini terdiri dari instalasi video dengan

tiga karpet masker dan benda-benda yang mengelilingi proyeksi video. Dalam video tersebut, tiga sosok

laki-laki sedang bermain ketika ketegangan perlahanlahan meningkat dan kemudian memanas. Edisi kedua

dari seri ini terdiri dari tiga lukisan berukuran

lebih kecil yang terdiri dari lukisan masker, gouache, dan akrilik di atas kanvas. Gambar tiga mata uang yang berbeda berukuran kecil dan tampak tidak signifikan di tengah ruang kosong di sekelilingnya.

Akhirnya, karya terakhir “Manusia Tunggal - Balada

Emisi Manusia #b” (2023) yang merupakan susunan

istilah yang digunakan Nindityo secara acak untuk merepresentasikan caranya mengekspresikan slip dan kegagalan “modernisme” dan era antroposentris. Instalasi rotan ini merupakan perenungan yang lebih luas dan holistik mengenai kematian kematian manusia, kematian metaforis era antroposentris, dan kematian sebagai bagian dari siklus kehidupan sebuah proses pembaharuan dan regenerasi.

Dalam proses pembuatan pameran ini, sang seniman

menemukan banyak sekali pengalaman ketubuhan yang membantunya membedakan antara maskulinitas dan femininitas di dalam dirinya. Usaha mengupayakan

agar masker tidak masuk ke tempat pembuangan sampah adalah salah satunya. Hal ini ditafsirkan kembali ke dalam format artistik sebagai tindakan kepeduliannya. Bagi Nindityo, pemandangan paling mencolok yang terus muncul di kepalanya adalah masker-masker bekas yang berserakan di jalanan desa, menyerap bercak-bercak cairan kotor entah apa dalam gradasi warna-warni. Belakangan, masker bedah ini tidak lagi dianggap sebagai masker, tetapi merupakan detail yang mengacu pada periode waktu spesifik dari bahan yang dipilihnya untuk membuat lukisan. Tidak hanya bereksperimen dengan medium, dia memilih opsi yang lebih ramah lingkungan untuk karyanya.

Mengutamakan keberlanjutan adalah bentuk tanggung jawab pribadi dalam menghadapi lonjakan limbah medis seperti pakaian pelindung sekali pakai, masker, dan sarung tangan yang membanjiri tempat pembuangan

"Pada titik ini, pilihan medium menjadi bagian dari kosakata artistik yang politis."

akhir (TPA). Sebuah penelitian menunjukkan bahwa pandemi Covid-19 diperkirakan menghasilkan hingga

7.200 ton limbah medis setiap harinya4. Pada titik ini, pilihan medium menjadi bagian dari kosakata artistik yang politis.

Sebagai seorang seniman yang dididik secara formal di Rijksakademie, salah satu akademi seni paling terkemuka di dunia, dengan praktik artistik selama lebih dari tiga dekade; Nindityo fasih bereksperimen dalam berbagai medium untuk menyampaikan tesis, observasi, dan penelitian jangka panjangnya. Pilihan artistiknya menjadi bagian dari sikap politiknya yang disempurnakan dengan produksi yang cermat.

Proyek-proyeknya sering kali berbasis penelitian dan didasarkan pada konteks sosial-politik. Sesekali, dia dengan berani menantang pola yang sudah mapan

dalam menciptakan karyanya. Dalam proyek “Rhinolophus Sinicus”, dia membuat sebuah poin penting yang berhasil menunjukkan kepiawaiannya memainkan

berbagai medium untuk memanifestasikan sikap politiknya. Setiap karya Nindityo merupakan fragmen dari fenomena zaman yang dimaksudkan untuk menangkap

lapisan-lapisan persoalan yang disajikan dalam satu

kesatuan wacana, pengalaman, dan pengejawantahan dari pengamatannya yang mendalam terhadap kompleksitas

sosial-politik pada kurun waktu tertentu sebuah

catatan penting dari sejarah kolektif yang baru saja berlalu.

5 Mei 2023

LIR (Mira Asriningtyas & Dito Yuwono)

1) Pada 5 Mei 2023; Organisasi Kesehatan Dunia (WHO) menyatakan berakhirnya keadaan darurat kesehatan global akibat Covid-19. Sekarang ditetapkan bahwa Covid-19 sekarang menjadi masalah kesehatan yang mapan dan masih berlangsung itu tidak lagi merupakan keadaan darurat kesehatan masyarakat yang menjadi perhatian internasional. World Health Organization, “Statement on the Fifteenth Meeting of the International Health Regulations (2005) Emergency Committee Regarding the Coronavirus Disease (Covid-19) Pandemic”, https://www.who.int/ news/item/05-05-2023-statement-on-the-fifteenth-meeting-of-theinternational-health-regulations-(2005)-emergency-committee-regardingthe-coronavirus-disease-(covid-19)-pandemic (diakses pada 7 Mei 2023).

2) Anthropause, merupakan istilah yang diciptakan oleh Rutz, dkk., didefinisikan sebagai penurunan aktivitas manusia di seluruh dunia secara signifikan untuk sementara waktu, seperti saat pandemi, yang secara nyata memengaruhi fenomena lingkungan seperti tingkat polusi udara, pergerakan satwa liar, bahkan kebisingan seismik. Rutz, Christian, Matthias-Claudio Loretto, Amanda E. Bates, Sarah C. Davidson, Carlos M. Duarte, Walter Jetz, Mark Johnson, dkk. “Covid-19 Lockdown Allows Researchers to Quantify the Effects of Human Activity on Wildlife.” Nature News. Nature Publishing Group, https://www. nature.com/articles/s41559-020-1237-z 22 Juni 2020 (diakses pada 7 Mei 2023).

3) Informasi mengenai asal-usul dan reservoir virus corona yang bertanggung jawab atas pandemi Covid-19 yang sedang berlangsung masih terpisah-pisah. Hingga saat ini, kerabat terdekat SARS-CoV-2 telah terdeteksi pada Rhinolophus sinicus (kelelawar ladam rufous Cina) yang diambil sampelnya di Provinsi Yunnan, Cina. Delaune, Deborah, Vibol Hul, Erik A. Karlsson, Alexandre Hassanin, Tey Putita Ou, Artem Baidaliuk, Fabiana Gámbaro, dkk. “A Novel SARS-CoV-2 Related Coronavirus in Bats from Cambodia”, Nature News, Nature Publishing Group, https://www.nature.com/articles/s41467-021-26809-4 9 November 2021 (diakses pada 7 Mei 2023).

4) Anne Trafton MIT News Office, “The Environmental Toll of Disposable Masks”, MIT News, Massachusetts Institute of Technology, https:// news.mit.edu/2021/covid-masks-environment-0720 (diakses pada 7 Mei 2023).

"Dalam proyek “Rhinolophus Sinicus”, dia membuat sebuah poin penting yang berhasil menunjukkan kepiawaiannya memainkan berbagai medium untuk memanifestasikan sikap politiknya."

NINDITYO ADIPURNOMO

Born: June 24, 1961, Semarang, Indonesia

AWARDS

2010 Jogja Biennale Lifetime Achievements Awards (Jogja Biennale FoundationYogyakarta)

2005 John D. Rockefeller 3rd Award (The Asian Cultural Council - New York)

1987 Pratita Affandi Adi Karya (The Art Institute of Indonesia - Yogyakarta)

Amsterdam

1999 Residency: Bute Town Studio, Visiting Art Cardiff - Wales

2002 Residency: Fukuoka

Asian Art Museum, the 2nd Fukuoka Triennale - Fukuoka

2004 Residency: Studio Joo

Chiat Road 106, Lasalle College of the ArtSingapore

2009 ASEAN contemporary art exchange Yangon - Myanmar

2010 Short Residency Project at Jatiwangi Art Factory –West Java

SOLO EXHIBITIONS

EDUCATION/ TRAINING/WORKSHOP AND RESIDENCY

1981 - 1988 The Art Institute of IndonesiaYogyakarta

1986 - 1987 Rijksakademie van Beeldende Kunsten -

2005 Hong Kong International Artists Workshop and Residency, Triangle Arts Trust - Kowloon

2006 Residency: Amsterdam Graphic Studio, AGAAmsterdam

2007 Residency: Bamboo Curtain Studio - Taiwan

2023 “Rhinolophus Sinicus” a project presentation of the first three years pandemic in the form of “Solo Exhibition” at D Gallery Jakarta. With Catalog. Curated by LIR (Mira Asriningtyas and Dito Yuwono)

2019 “Pasang” Setouchi Triennale Art Project at Ibukijima Island, in collaboration with Mella

Jaarsama and the local Ibukijima residents.

2018 “Penanda Kosong” Exhibition Presentation of solo project “Penanda Kosong/Empty Signifier” at Semarang Gallery with Bob Edrian as an essay writer in “pdf” catalog

2017 “Unit Produksi Berita”, Exhibition presentation of an interactive Art Project, in collaboration with ten responders at Dia_Lo_Gue Gallery in Jakarta. With a mono-dialogue essay by Linda Mayasari and comments from all participating responders

2015 "Criminal Cabinet 2015" Solo Exhibition at Ark Galerie Yogyakarta. With a mono-dialogue essay by Linda Mayasari on produced postcards

“Convergence: Post Traditionalism” group exhibition at RJ Katamsi Gallery – ISI Yogyakarta. (With Catalog).

900 mdpl 2022 “Genealogy Of Ghosts and How To Live With Them”

A Site-Specific Project in collaboration with the local artist collective Merapi Siring Kidul – Kaliurang, Yogyakarta

Group Exhibition of Yogya Annual Art#7: FLOW at Sangkring Art Space Yogyakarta

Open studio for special project on the habit of pandemic: “Working from home versus working at home”

2021 ICAD_Indonesian Contemporary Art and Design in Jakarta

contemporary art on the “batik” in Jim Thompson Art Centre – Bangkok

2017 “Moscow Biennale

7th” The curator of the 7th Moscow Biennale is Yuko Hasegawa, Artistic Director of the Museum of Contemporary Art, Tokyo, and Professor of Tokyo University of the Arts. The project Clouds⇄Forests focuses on a new ecosystem formed through a circulation of "Cloud Tribes", who were born on the Internet cloud space, and “Forest Tribes” who are born on cultural origin

“Mereka-reka” Group Exhibition at LORONG Gallery Yogyakarta. Curator: Arham Rahman (with bilingual catalog)

SELECTED GROUP EXHIBITIONS

2023 “Residency Exhibition” a special curated exhibition at FAAM (Fukuoka Asian Art Museum) for International Artists who have done residency programmes at FAAM. Fukuoka – Japan.

“Seni Agawe Santosa” a group exhibition at Semarang Gallery - Semarang

2022 “Sustainable” a group exhibition at Sarinah Art District X – Jakarta.

Art Jakarta 2022 (with Newsletter).

Open studio for special project on male gaze investigation: “Fashion is my belief”

2020 “Resilience_ARTJOG

2020” Group Exhibition at Yogyakarta Annual Art Fair –Online Exhibition

2019 “Art Jakarta 2019” Group Exhibition at Jakarta Jakarta Art Fair

2018 “Serupa Bunyi” Group Exhibition of Visual Sound Art at Taman Budaya Jawa Tengah – Surakarta

“Pola: Pattern of Meaning”, Group exhibition of

2016 “Pesta Senam Kreatif_Manusia Portable” Collaboration Project Performing Arts_Performance_ Music_Gymnastic Training and participatory interactive with Doni Maulistya (videographer), Ari Ersandi (choreographer), Linda Mayasari (writer), Septian Gembul (music Composer) at PKKH Yogyakarta

2015 “Religion Got Talent” a participatory engagement artistic forum or religions and beliefs with Linda Mayasari, Doni Maulistya and Cahaya Negeri

CATALOGUE FOR Rhinolophus Sinicus a solo exhibition by Nindityo Adipurnomo May 27 - June 30, 2023

CURATOR LIR (Dito Yuwono & Mira Asriningtyas)

PHOTOGRAPHER

Doni Maulistya

PUBLISHED BY D Gallerie, Jakarta May 2023

DESIGN BY Kotasis 333 Surabaya, Indonesia www.kotasis.com

EDITION 100 copies

PRINTED IN INDONESIA

IN 2021, NINDITYO ADIPURNOMO STARTED A NEW SERIES OF WORK AS HIS PERSONAL WAY OF KEEPING RECORDS ABOUT THE PANDEMIC. TITLED “RHINOLOPHUS SINICUS”, THE PROJECT USES AN ERASPECIFIC MEDIUM TO RECALL NEW EMBODIED GESTURES THAT MARK THE SOCIAL AS WELL AS POLITICAL IMPACTS OF THE PANDEMIC.

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