Submission Description
Note: This paper author has withdrawn from ICOC 2025
This paper discusses the genesis of my art work Ruwatan Tanah Air Beta which was inspired by a Sundanese ritual, at the Bogor Botanical Garden intended to cleanse bad omens and restore balance between the spiritual and physical worlds. The art work constituted a meditation on decolonization, reflecting on the diverse and conflicting meanings of objects in the garden across different historical and cultural contexts that suggest a profound intersection of colonial and indigenous histories. The work was first created for a critical exhibition on botanical gardens by the Farmer Framed (the Netherlands). Then it was purchased as a form of museum intervention by the Werdeldmuseum in Amsterdam, an institution with a colonial legacy. Following this I created a work of art that reflected on this process which I exhibited at the Bandung Art Space, Selasar Sunaryo. This paper analyses how different forms of display of art affect its purposes.
This paper discusses the genesis of my art work Ruwatan Tanah Air Beta which was inspired by a Sundanese ritual, at the Bogor Botanical Garden intended to cleanse bad omens and restore balance between the spiritual and physical worlds. The art work constituted a meditation on decolonization, reflecting on the diverse and conflicting meanings of objects in the garden across different historical and cultural contexts that suggest a profound intersection of colonial and indigenous histories. The work was first created for a critical exhibition on botanical gardens by the Farmer Framed (the Netherlands). Then it was purchased as a form of museum intervention by the Werdeldmuseum in Amsterdam, an institution with a colonial legacy. Following this I created a work of art that reflected on this process which I exhibited at the Bandung Art Space, Selasar Sunaryo. This paper analyses how different forms of display of art affect its purposes.