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Session 8: Weaving Threads: Politics of Representation, Knowledge Production, Colonial Agency, and Post-1965 Art in Indonesia
Panel (Paper) Presentations
Session Description
Chairperson: Patriot Mukmin
This panel explores how colonial institutions and cultural apparatuses have shaped knowledge production and representation in Indonesia, from the Dutch colonial period to the aftermath of 1965. The first two papers examine the colonial politics embedded in museological and pedagogical practices. One investigates the exhibition design of Gallery 1.17 “The Dutch East Indies” at the Rijksmuseum, Amsterdam, revealing how the display of artifacts reinforces narratives of imperial authority and colonial knowledge. Another analyzes the role of Dutch-founded institutions—such as the Bataviaasch Genootschap and Technische Hoogeschool te Bandung—in structuring arts education and recontextualizing cultural objects, with long-lasting impacts on Indonesian artistic discourse. These studies uncover the colonial agency behind the shaping of visual and historical consciousness. Closing the panel, the third paper turns to post-1965 Indonesia, showing how contemporary artists like Dadang Christanto and Maharani Mancanagara reclaim narrative agency through artworks that confront historical trauma, memory, and human rights.
This panel explores how colonial institutions and cultural apparatuses have shaped knowledge production and representation in Indonesia, from the Dutch colonial period to the aftermath of 1965. The first two papers examine the colonial politics embedded in museological and pedagogical practices. One investigates the exhibition design of Gallery 1.17 “The Dutch East Indies” at the Rijksmuseum, Amsterdam, revealing how the display of artifacts reinforces narratives of imperial authority and colonial knowledge. Another analyzes the role of Dutch-founded institutions—such as the Bataviaasch Genootschap and Technische Hoogeschool te Bandung—in structuring arts education and recontextualizing cultural objects, with long-lasting impacts on Indonesian artistic discourse. These studies uncover the colonial agency behind the shaping of visual and historical consciousness. Closing the panel, the third paper turns to post-1965 Indonesia, showing how contemporary artists like Dadang Christanto and Maharani Mancanagara reclaim narrative agency through artworks that confront historical trauma, memory, and human rights.