Unpacking: Curatorial Concernment

History is an inseparable part of Enka Komariah and Ipeh Nur's work. The installation Rumah Yang Yahud is rich with diverse narratives from the history of post-independence Indonesia, incorporating influences from its socio-political history and referencing photographs that marked historical moments at the time. As a collaborative installation it comprises of 19 drawings, paintings and objects measuring approximately 400 x 300 cm. The impressiveness of object composition is at play in this work. The structure of scaffoldings, fences and barbed wir­e and the multiple paintings and drawings that hang from the iron pipes evoke an immersive house-like experience. Rumah Yang Yahud 2022, offers an immersive experience as it portrays the process of rethinking and rebuilding Indonesia as a national identity, in the context of the country’s independence from 1945. It also features artworks rooted in research-based projects concerned with historical narratives and memories in various materials and forms of expression, including paintings, drawings, videos and installations.

The installation’s title comes from a song of the same name by the Indonesian band Naif –

 

Milikmu milikku                                    
Semua milik bersama                 
Tak ada rahasia yang tak pernah terbuka        
Bangunlah sebuah rumah yang yahud            
Di mana kita kan dapat bersama                      
Tak ada yang dapat menyusup masuk ke dalam       
             

[english translation] 

Yours is mine
All belong together
There is no secret that is never revealed
Build a cool house
Where can we be together
No one can sneak inside

________________________

 

In Rumah Yang Yahud (A Cool House), the artists present an abundance of symbolic and metaphorical imagery, building the complex structure from both archival references, and personal memories and imagination. Expanding beyond the conventions of traditional artist practice, Enka and Ipeh place significant importance on conceptualising how the individual works can form an installation, and how that installation can further provide deeper meaning and significance.

In an interview with the gallery, they elaborate on their relationship with the curatorial stage:

‘Curatorial support is crucial in comprehending and contextualizing our complex and interconnected works. However, we also appreciate the audience's adaptability in interpreting our pieces, which often leads to thought-provoking responses and perspectives.

Our works are not limited to galleries. We also collaborate on creating murals in public spaces by visualizing events and occurrences inspired by the stories of local residents where we work. Additionally, we have showcased some of our pieces in specific sites, including mosques, parks, and roads, with a diverse range of audiences.’ 

Artworks: Rumah Yang Yahud (A Cool House) Series 2022  

Think About/Discuss:

The Home or House has been used as a metaphor and symbol throughout art history, often referencing domesticity, safety, intimacy and belonging. In contemporary practices, artists continue to explore the imagery of Home or House, to dissect the multiplicity of meanings, interpretations and definitions.  

Compare the curatorial concernments in Rumah Yang Yahud (A Cool House) with other artist/curators also exploring the concept of Home/House. Ensure you are critically investigating the two practices by evaluating the similarities and differences within them.

 

The use of archival documentation and imagery is an important part of Enka and Ipeh’s practice, as it allows them to draw on established events and memories and reshape them through their own suggestive decisions and ideas. 

Compare the physical presentation of Rumah Yang Yahud (A Cool House) with installations by Australian Indigenous artist/curator Brook Andrew:

 

 

Questions for discussion:

How have the artists used material practice and choice to further communicate their ideas about the Home/House?

What are the themes and perspectives being discussed through these Home-like installations?

Why do you think the concept of a Home/House is so often discussed by artists through artmaking?