See You at ARTJOG MMXX, 23 July - 30 August 2020

Participating Artist






Octora


Born 1982, West Java, Indonesia

EDUCATION
2016-2017
Master of Contemporary Art, Victorian College of The Arts, Melbourne University, Melbourne, Australia
2002-2007
Bachelor of Fine Art (Sculpture), Faculty of Art and Design, Bandung Institute of Technology, Bandung, Indonesia
2001-2006
Bachelor of Law, Faculty of Law, Parahyangan Catholic University, Bandung, Indonesia

SOLO EXHIBITION
2015
On The Edge of Awareness , Canna Gallery, Jakarta, Indonesia
2012
After Happiness , D’Gallerie, Jakarta, Indonesia
2011
Mimi / Secret , Stock20, Taichung, Taiwan
2007
The Nonya’s Project, Centre Culturel Français de Bandung (CCF Bandung), Bandung, Indonesia

SELECTED GROUP EXHIBITIONS
2019
ARTJOG Common Space , Jogja National Museum, Yogyakarta, Indonesia
Contemporary Worlds: Indonesia , National Gallery of Australia, Canberra, Australia
Deep Sounding – History As Multiple Narratives , DAAD Gallery, Berlin, Germany
Into The Future , National Gallery of Indonesia, Jakarta, Indonesia
BaCAA Assemblage: A re-collection of BaCAA Prior Finalist from 2010-2017 , Lawang Wangi Creative Space, Bandung, Indonesia

2018
#Perempuan , Space 28, VCA Performing Arts, Melbourne, Australia
Medium @ Play , Gajah Gallery Yogyakarta, Indonesia
Revising a Collection : Making Paradise (Places of Longing, from Paul Gaugin to Tita Salina) , Hamburger Bahnhof- National Galerie Staatliche Museen zu Berlin, Berlin, Germany.

2017
VCA Master Graduate Show 2017 , Margaret Lawrence Gallery, Melbourne, Australia
Power and Other Things , BOZAR (Centre for Fine Arts), Brussel, Belgium

2016
What Can We All Agree On , VCA Student Gallery, Melbourne
Kait Kelindan , Salihara Gallery, Jakarta, Indonesia
Historia Docet Historia Vitae Magista , D’Gallerie, Jakarta, Indonesia
2015
Jakarta Biennale 2015: Maju Kena, Mundur Kena (Neither Forward nor Back: Acting in the Present) , Jakarta, Indonesia
Mapping Melbourne 2015 , Independent Contemporary Asian Arts: SHOUT!, The Meat Market Stables, Melbourne, Australia

RESIDENCIES

2014
ZK/U, Zentrum fur Kunst / Urbanistic , artist residency, Berlin, Germany
2012
Centre Intermodes, La Rochelle, France
2010
Bamboo Culture Studio, Taipei, Taiwan
Stock20, Taichung, Taiwan
2009
Landing Soon #10, Cemeti Art House, Yogyakarta, organized by HEDEN, The Hague (Artoteek Den Haag), Netherlands and Cemeti Art House, Indonesia

AWARDS
2017
Fiona Myer Awards for excellence, Faculty of VCA and MCM, The University of Melbourne.
2016
Mentorship Award, Faculty VCA and MCM, The University of Melbourne
2013
Runner-up of Trimatra National Competition, held by Indonesian Ministry of Tourism and Creative, Salihara Gallery, Louis Vuitton, Jakarta, Indonesia
Finalist of Gudang Garam – Indonesian Art Award held by The National Gallery of Indonesia and Indonesian Visual Art Foundation, Indonesia
2012
Bandung Contemporary Art Awards #02,
Lawang Wangi Art Space , Bandung , Indonesia
2005
Finalist of Oita Asian Sculpture Competition, Asaji, Japan


A New Man Emerge

200 x 140 cm | digital printing on Velvet
2019


Konsep Karya
Octora Chan mengangkat pertanyaan tentang konsep kedaulatan tubuh dan subjek poskolonial, dan secara kritis mempertanyakan cita-cita ruang universal yang netral, demokratis, dan terbuka, seperti yang sering dikampanyekan oleh pembela globalisasi. Risetnya secara khusus berhubungan dengan fotografi sebagai perangkat keras di satu sisi, dan etnografi sebagai metode keilmuan di sisi yang lain. Keduanya dimanfaatkan secara politis oleh para imperialis di masa lalu untuk menegaskan perbedaan ras manusia, dan terutama batas antara yang Barat dan Non-Barat . Performa kolonial foto-foto etnografis juga ditunjang dengan distribusi melalui museum yang memproduksi pengetahuan untuk publik. Dalam seri karyanya, Octora mengapropriasi bahasa fotografi populer seperti yang telah banyak dilakukan juga oleh fesyen, film dan iklan, untuk merepresentasikan siklus performatif citraan eksotisme yang dirayakan dalam kultur global. Serupa parodi dari siklus kolonialisasi kontemporer tanpa jalan keluar , pementasan ulang tubuh-tubuh fiksi, tubuh-tubuh panggung yang menjadi sumber tontonan, menegaskan evolusi konsep Tubuh Timur yang dipersiapkan untuk konsumsi global.

Octora Chan raises questions of the concept of body s sovereignty and postcolonial subject, and critically questions the ideals of a neutral, democratic and open universal space, as often advocated by defenders of globalization. Her research specifically deals with photography as a hardware on the one hand, and ethnography as a scientific method on the other. The two were used politically by the imperialists in the past to emphasize differences in the human race, and especially the boundaries between the West and the Non-West . The colonial performance of ethnographic photographs has also been supported by their distribution through museums that produce knowledge for the public. In her series of work, Octora appropriates popular photography languages often used in fashion, film and advertising to represent the performative cycle of exotic images celebrated in global culture. Akin to a parody of the cycle of contemporary colonialism without a way out , the process of re-staging fictional bodies, the staged bodies that are the source of spectacle, confirm the evolution of the Eastern Body prepared for global consumption Dramaturgies: Octora & Andre Ong Carlesso Music dengan persetujuan dari musisi : “The Greys are Here” , Rocca Beats (Nederlands) Durasi 45 menit

Defined Situation, Unreal in Consequences

200 x 140 cm each | digital printing on Velvet 3 panels
2019


Konsep Karya
Octora Chan mengangkat pertanyaan tentang konsep kedaulatan tubuh dan subjek poskolonial, dan secara kritis mempertanyakan cita-cita ruang universal yang netral, demokratis, dan terbuka, seperti yang sering dikampanyekan oleh pembela globalisasi. Risetnya secara khusus berhubungan dengan fotografi sebagai perangkat keras di satu sisi, dan etnografi sebagai metode keilmuan di sisi yang lain. Keduanya dimanfaatkan secara politis oleh para imperialis di masa lalu untuk menegaskan perbedaan ras manusia, dan terutama batas antara yang Barat dan Non-Barat . Performa kolonial foto-foto etnografis juga ditunjang dengan distribusi melalui museum yang memproduksi pengetahuan untuk publik. Dalam seri karyanya, Octora mengapropriasi bahasa fotografi populer seperti yang telah banyak dilakukan juga oleh fesyen, film dan iklan, untuk merepresentasikan siklus performatif citraan eksotisme yang dirayakan dalam kultur global. Serupa parodi dari siklus kolonialisasi kontemporer tanpa jalan keluar , pementasan ulang tubuh-tubuh fiksi, tubuh-tubuh panggung yang menjadi sumber tontonan, menegaskan evolusi konsep Tubuh Timur yang dipersiapkan untuk konsumsi global.

Octora Chan raises questions of the concept of body s sovereignty and postcolonial subject, and critically questions the ideals of a neutral, democratic and open universal space, as often advocated by defenders of globalization. Her research specifically deals with photography as a hardware on the one hand, and ethnography as a scientific method on the other. The two were used politically by the imperialists in the past to emphasize differences in the human race, and especially the boundaries between the West and the Non-West . The colonial performance of ethnographic photographs has also been supported by their distribution through museums that produce knowledge for the public. In her series of work, Octora appropriates popular photography languages often used in fashion, film and advertising to represent the performative cycle of exotic images celebrated in global culture. Akin to a parody of the cycle of contemporary colonialism without a way out , the process of re-staging fictional bodies, the staged bodies that are the source of spectacle, confirm the evolution of the Eastern Body prepared for global consumption Dramaturgies: Octora & Andre Ong Carlesso Music dengan persetujuan dari musisi : “The Greys are Here” , Rocca Beats (Nederlands) Durasi 45 menit

Invisibleness of Visibility

140 x 240 cm | digital printing on Velvet
2019


Konsep Karya
Octora Chan mengangkat pertanyaan tentang konsep kedaulatan tubuh dan subjek poskolonial, dan secara kritis mempertanyakan cita-cita ruang universal yang netral, demokratis, dan terbuka, seperti yang sering dikampanyekan oleh pembela globalisasi. Risetnya secara khusus berhubungan dengan fotografi sebagai perangkat keras di satu sisi, dan etnografi sebagai metode keilmuan di sisi yang lain. Keduanya dimanfaatkan secara politis oleh para imperialis di masa lalu untuk menegaskan perbedaan ras manusia, dan terutama batas antara yang Barat dan Non-Barat . Performa kolonial foto-foto etnografis juga ditunjang dengan distribusi melalui museum yang memproduksi pengetahuan untuk publik. Dalam seri karyanya, Octora mengapropriasi bahasa fotografi populer seperti yang telah banyak dilakukan juga oleh fesyen, film dan iklan, untuk merepresentasikan siklus performatif citraan eksotisme yang dirayakan dalam kultur global. Serupa parodi dari siklus kolonialisasi kontemporer tanpa jalan keluar , pementasan ulang tubuh-tubuh fiksi, tubuh-tubuh panggung yang menjadi sumber tontonan, menegaskan evolusi konsep Tubuh Timur yang dipersiapkan untuk konsumsi global.

Octora Chan raises questions of the concept of body s sovereignty and postcolonial subject, and critically questions the ideals of a neutral, democratic and open universal space, as often advocated by defenders of globalization. Her research specifically deals with photography as a hardware on the one hand, and ethnography as a scientific method on the other. The two were used politically by the imperialists in the past to emphasize differences in the human race, and especially the boundaries between the West and the Non-West . The colonial performance of ethnographic photographs has also been supported by their distribution through museums that produce knowledge for the public. In her series of work, Octora appropriates popular photography languages often used in fashion, film and advertising to represent the performative cycle of exotic images celebrated in global culture. Akin to a parody of the cycle of contemporary colonialism without a way out , the process of re-staging fictional bodies, the staged bodies that are the source of spectacle, confirm the evolution of the Eastern Body prepared for global consumption Dramaturgies: Octora & Andre Ong Carlesso Music dengan persetujuan dari musisi : “The Greys are Here” , Rocca Beats (Nederlands) Durasi 45 menit

Post-Colonial Aphrodisiac

| delegated performance - installation
2019


Konsep Karya
Octora Chan mengangkat pertanyaan tentang konsep kedaulatan tubuh dan subjek poskolonial, dan secara kritis mempertanyakan cita-cita ruang universal yang netral, demokratis, dan terbuka, seperti yang sering dikampanyekan oleh pembela globalisasi. Risetnya secara khusus berhubungan dengan fotografi sebagai perangkat keras di satu sisi, dan etnografi sebagai metode keilmuan di sisi yang lain. Keduanya dimanfaatkan secara politis oleh para imperialis di masa lalu untuk menegaskan perbedaan ras manusia, dan terutama batas antara yang Barat dan Non-Barat . Performa kolonial foto-foto etnografis juga ditunjang dengan distribusi melalui museum yang memproduksi pengetahuan untuk publik. Dalam seri karyanya, Octora mengapropriasi bahasa fotografi populer seperti yang telah banyak dilakukan juga oleh fesyen, film dan iklan, untuk merepresentasikan siklus performatif citraan eksotisme yang dirayakan dalam kultur global. Serupa parodi dari siklus kolonialisasi kontemporer tanpa jalan keluar , pementasan ulang tubuh-tubuh fiksi, tubuh-tubuh panggung yang menjadi sumber tontonan, menegaskan evolusi konsep Tubuh Timur yang dipersiapkan untuk konsumsi global.

Octora Chan raises questions of the concept of body s sovereignty and postcolonial subject, and critically questions the ideals of a neutral, democratic and open universal space, as often advocated by defenders of globalization. Her research specifically deals with photography as a hardware on the one hand, and ethnography as a scientific method on the other. The two were used politically by the imperialists in the past to emphasize differences in the human race, and especially the boundaries between the West and the Non-West . The colonial performance of ethnographic photographs has also been supported by their distribution through museums that produce knowledge for the public. In her series of work, Octora appropriates popular photography languages often used in fashion, film and advertising to represent the performative cycle of exotic images celebrated in global culture. Akin to a parody of the cycle of contemporary colonialism without a way out , the process of re-staging fictional bodies, the staged bodies that are the source of spectacle, confirm the evolution of the Eastern Body prepared for global consumption Dramaturgies: Octora & Andre Ong Carlesso Music dengan persetujuan dari musisi : “The Greys are Here” , Rocca Beats (Nederlands) Durasi 45 menit

The Restitution and the Recuperating

200 x 140 cm | digital printing on Velvet
2019


Konsep Karya
Octora Chan mengangkat pertanyaan tentang konsep kedaulatan tubuh dan subjek poskolonial, dan secara kritis mempertanyakan cita-cita ruang universal yang netral, demokratis, dan terbuka, seperti yang sering dikampanyekan oleh pembela globalisasi. Risetnya secara khusus berhubungan dengan fotografi sebagai perangkat keras di satu sisi, dan etnografi sebagai metode keilmuan di sisi yang lain. Keduanya dimanfaatkan secara politis oleh para imperialis di masa lalu untuk menegaskan perbedaan ras manusia, dan terutama batas antara yang Barat dan Non-Barat . Performa kolonial foto-foto etnografis juga ditunjang dengan distribusi melalui museum yang memproduksi pengetahuan untuk publik. Dalam seri karyanya, Octora mengapropriasi bahasa fotografi populer seperti yang telah banyak dilakukan juga oleh fesyen, film dan iklan, untuk merepresentasikan siklus performatif citraan eksotisme yang dirayakan dalam kultur global. Serupa parodi dari siklus kolonialisasi kontemporer tanpa jalan keluar , pementasan ulang tubuh-tubuh fiksi, tubuh-tubuh panggung yang menjadi sumber tontonan, menegaskan evolusi konsep Tubuh Timur yang dipersiapkan untuk konsumsi global.

Octora Chan raises questions of the concept of body s sovereignty and postcolonial subject, and critically questions the ideals of a neutral, democratic and open universal space, as often advocated by defenders of globalization. Her research specifically deals with photography as a hardware on the one hand, and ethnography as a scientific method on the other. The two were used politically by the imperialists in the past to emphasize differences in the human race, and especially the boundaries between the West and the Non-West . The colonial performance of ethnographic photographs has also been supported by their distribution through museums that produce knowledge for the public. In her series of work, Octora appropriates popular photography languages often used in fashion, film and advertising to represent the performative cycle of exotic images celebrated in global culture. Akin to a parody of the cycle of contemporary colonialism without a way out , the process of re-staging fictional bodies, the staged bodies that are the source of spectacle, confirm the evolution of the Eastern Body prepared for global consumption Dramaturgies: Octora & Andre Ong Carlesso Music dengan persetujuan dari musisi : “The Greys are Here” , Rocca Beats (Nederlands) Durasi 45 menit