Dari meja makan Tavola Aperta itulah pesan Tintin melalui karyanya tersibak dengan lugas dan ringkas. Seperti diungkap Wendelin, Tintin berhasil mengunggah imajinasi sejarah tentang peristiwa yang berlangsung pada tahun 1965 di Indonesia menjadi sebuah karya instalasi seni kontemporer.
Tintin tidak berkutat tentang keindonesiaan saja. Tetapi, Tintin menyasar global. Pola berulang seperti peristiwa politik di Indonesia tahun 1965 kemungkinan besar dapat terjadi kapan pun dan di negara mana pun. Planet Mars pada masa berikutnya kemungkinan menjadi tempat pengasingan bagi para tahanan politik berikutnya.
dipetik dari Kompas : Pesan dari Tavola Aperta
(Galeri Foto )
Perupa Indonesia Boyong Karya ke Venice Art Biennale – CNN Indonesia
Tintin Wulia’s 1001 Martian Homes at Venice Biennale 2017
For Tintin the art works represent her own search for the truth behind the 1965-1966 atrocities, which anthropologist Robert Lemelson refers to as an Indonesian tragedy in his 2009 documentary movie.
Tintin is neither a historian nor an anthropologist, but her passion for the truth-seeking exercise, which she says is driven by the disappearance of her grandfather Liauw Liong Kee in the 1965 turmoil, constitutes awareness of the country’s new vision of Indonesian history.
dipetik dari Artist Tintin’s struggle to uncover the truth – the Jakarta Post
And a third, viewed by many as the center of the work, a one-channel video showing exiles of 1965, some 200 years later telling their stories in retrospect, from their 1001 homes on the planet Mars where they have been sent in exile, suspected of siding with the then Communist Party.
They had been sent to the far flung island of Buru in the Moluccas or they had disappeared from life, or had just been killed without trial.
For the 45-year-old artist, the events in 1965 had been particularly traumatic. “My grandfather disappeared, but no one in the house spoke about it,” she once said, reminiscing on her stress at not knowing and the silence in the house.
The overall title 1001 Martian homes was inspired by Scheherazade’s 1001 nights of storytelling and keeping the king occupied to save her life, and was perhaps one way for the artist to “save” past experiences that were in the process of being forgotten.
Venice Biennale: A missed opportunity to keep Indonesia ‘on the map’ – CARLA BIANPOEN
Seingatku, ada yang bilang dia digantung di pohon kamboja di dekat kuburan Bali di pojok sana. Lalu, ada juga yang bilang bahwa dia ditahan dulu, selama beberapa waktu, sebelum kemudian ditembak. Yang bercerita tentang penahanan ini kabarnya juga menyampaikan bahwa dia sangat terkesan dengan kakekku. “Orangnya baik sekali,” kata dia.
selengkapnya Bagaimana Kakekku Dibunuh – Tintin Wulia
#1965setiaphari #living1965
