2 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

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1 October 문자로그리는 세상 Lotte Shopping Avenue The 2 nd Media. Installation Korea-Indonesia Art Exhibition TY PO TO PIA

2 2 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

3 October 문자로그리는 Lotte Shopping Avenue 세상 TY PO TO PIA Adityo Pratomo Ahn Sang-Soo Bujangan Urban Choi Seung Joon Heo Changbong Kim Yongkwan Narpati Awangga a.k.a Oomleo Ramadhani Kurniawan Song Joomyoung Syaiful Aulia Garibaldi Tangsel Creative Foundation Terra Bajraghosa Yasser Rizky Curator: ARCOLABS Surya University

4 THe 2nd Korea-Indonesia Media Installation Art Exhibition TYPOTOPIA Presented by Organized by Curated by Supported by Sponsored by Address & Contact Korean Cultural Center Indonesia Equity Tower 17th Fl, SCBD Lot 9, Jl. Sudirman Kav 52-53, Jakarta T: (62-21) Web: id.korean-culture.org

5 Table of Contents Foreword 06 Typography + Art 10 Typography + Technology 22 Typography + Play 30 Translations 41 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 5

6 Pengantar Cho Tai-young Duta Besar Republik Korea untuk Indonesia 서문 조태영 주인도네시아한국대사 Merupakan sebuah kehormatan bagi saya untuk menyambut Anda semua dalam Pameran Seni Rupa dan Media Baru Korea-Indonesia kami yang ke 2, TYPOTOPIA P ameran ini menampilkan karya dari 13 seniman progresif dari Korea dan Indonesia yang mengeksplorasi minat dalam tipografi, saya percaya bahwa pameran ini akan memberikan pengalaman luar biasa dari semua seni kontemporer yang menggabungkan media dan teknologi terbaru, begitu juga cara unik menyelami seni dan budaya dari dua negara yang saling berhubungan warisan budayanya. Pameran ini diselenggarakan sebagai bagian dari Festival Korea-Indonesia 2014, sebuah perayaan tahunan dari ikatan yang lebih besar dan persahabatan yang lebih dalam antara Republik Korea dan Republik Indonesia, Pameran ini juga merupakan sebuah tanda penting yang memperkaya pertukaran budaya yang dinamis antara kedua negara yang terus-menerus dikembangkan selama lebih dari 40 tahun. Saya berharap dengan acara ini akan membawa Korea dan Indonesia dalam pemahaman yang lebih baik dari perbedaan budaya dan dapat mempromosikan kolaborasi kreatif lebih lanjut antara keduanya. Sekali lagi saya ingin menyampaikan terima kasih dengan setulus hati saya dan selamat kepada para seniman dan penyelenggara yang berpartisipasi dalam pameran ini untuk usaha yang besar dan prestasi yang berharga. 제 2 회미디어설치미술 TYPOTOPIA 전시개최를축하합니다. 한국과인도네시아의진취적작가 13 인이참가하는본전시는타이포그래피라는공동의주제를바탕으로뉴미디어와신기술의조합을통한현대미술의최신작들을선보일뿐만아니라, 한국과인도네시아각국의문화유산적특징을작품속에서고스란히드러낼것입니다. 한 - 인양국간의우호협력을축하하기위해마련된 2014 년한국 - 인도네시아축제의일환으로개최되는본전시회는지난 40 여년동안지속되어온양국의활발한문화교류를상징하는주요한행사입니다. 본행사를통해한국과인도네시아양국국민들은각국문화의차이를이해하고창조적협업을지속할수있는발판이마련되기를바랍니다. 마지막으로본행사가성공리에개최될수있도록수고를아끼지않으신작가들과관계자여러분께감사인사드립니다. 6 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

7 New Icon: Pop In Asia 7 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 7

8 Curatorial and Artworks 8 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

9 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 9

10 Typography + Art Hilmi Fabeta Curator AHN SANG SOO ( 안상수 ) BUJANGAN URBAN TANGSEL CREATIVE FOUNDATION HEO CHANG BONG ( 허창봉 ) RAMADHANI KURNIAWAN SYAIFUL AULIA GARIBALDI Salah satu kebutuhan pokok manusia, seperti dikatakan Susanne Langer, adalah kebutuhan simbolisasi. S alah satu kebutuhan pokok manusia, seperti dikatakan Susanne Langer, adalah kebutuhan simbolisasi. Dan salah satu sifat dasar manusia, menurut Wieman dan Walter, adalah kemampuan menggunakan simbol. Kemampuan tersebut dapat dimaknai sebagai hasil pengalaman visual dan cara ungkap manusia melalui bahasa, text, dan makna. Hingga kemudian bahasa, text, dan makna dalam seni rupa terkait dengan rangkaian gambar, bentuk, dan simbol-simbol yang kemudian bisa diklasifikasi menjadi beberapa bagian. Pengklasifikasian yang dikemukakan Arthur Asa Berger mengklasifikasikan simbol menjadi konvensional, aksidential, dan universal. Simbol konvensional adalah kata-kata yang kita pelajari untuk menyebut sesuatu. Simbol universal mewakili kesepakatan bersama dan bersifat memori kolektif. Pada dasarnya symbol-simbol merupakan pesan dari ketidaksadaran kita. Aksidential sifatnya lebih tertutup, individu, dan berhubungan dengan sejarah kehidupan seseorang. Hampir setiap seniman menggunakan bahasa ungkap ini. Dalam pameran TYPOTOPIA, apa yang dilakukan Syaiful Aulia Tepu Garibaldi yang memiliki latar belakang pendidikan ilmu biologi Unpad dan seni rupa ITB dalam menterjemahkan pengalaman hidupnya (melihat cell dan mikroba melalui mikroskopik dan pengaruh studi seni rupa) adalah salah satu klasifikasi Aksidential, dia menciptakan bahasa-bahasa baru yang imajiner namun dengan makna umum yang disepakati khalayak. Ada banyak lapis dalam melihat karya Tepu, Susanne Langer 는인간은기본적으로기호화하고싶어하는욕구를가지고있다고하고 Wieman 과 Walter 는인간은기본적으로기호를사용할능력을갖고있다고한다. 이두가지능력은시각적경험과언어, 문자그리고의미와인간의전달력을통해최대의효과를거둔다고한다. 언어, 문자그리고의미는그림과형태그리고기호와뗄수없는사이이며또한여러분류로나뉜다고한다. Arthur Asa Berger 의기호분류방법은관습적이고돌발적이며보편적인방법을통한분류이다. 관습적기호는무언가를표현하기위해우리가학습해야하는언어이며, 보편적기호는상호합의된기억의집합을대변한다. 기본적으로기호는우리의무의식세계를표현하며, 돌발적기호는폐쇄적이고개인적이며, 그런점에서개인의삶과관련있다. 모든예술가들은이언어를사용한다. 빠자자란대학에서생물학을전공하고반둥공과대에서미술을전공한 Syaiful Aulia Tepu Garibaldi 는작가개인의삶의경험 - 세포와미생물을현미경을통해관찰하거나자연의예술에미친영향에대해학습하는 - 을해석하기위해돌발적분류방법을채택하였다. 그는일반적으로합의된의미를함축하지만상상력을동원해개발된새로운언어를선보인다. 그의작품에는언어, 의미, 관습과관련된다양한측면을볼수있는데, 예컨데지속적으로자라는버섯 10 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

11 mengenai bahasa makna konservasi, atau bagaimana dia menciptakan rangkaian teks dengan medium jamur yang akan terus berkembang juga menjadi satu persoalan lain, bahwa seni sudah bicara dalam unsur yang berbeda. Seni kemudian tidak sekedar memaknai apa yang sudah disepakati namun juga memaksa kita untuk membentuk makna baru. Maka, pameran TYPOTOPIA kemudian memberi ruang untuk mengungkap bahasa ungkap seniman dalam konteks bahasa dan makna. Pameran ini kemudian mereka-reka kemungkinan dari para seniman melalui menelusuran teknis yang menggunakan beragam medium. Huh Chang Bong contohnya, dengan karya berjudul Hangeul, Blossom yang mengambil esensi dan bentuk dari konsonan huruf Korea, yang kemudian dijadikannya seakanakan tumbuh berkembang seperti bunga. Dengan paparan indahnya bentuk-bentuk huruf Korea, Huh mengajak kita melihat dalam spektrum tidak terbatas dari Hangeul dan huruf-huruf Korea sebagai bagian dari visual dan elemen grafis. Dikenal sebagai salah satu seniman avant garde dan salah satu desainer paling berpengaruh di Korea, Ahn Sang Soo menunjukan ketertarikan dia dalam mengembangkan kemungkinan tipografi Korea sebagai bagian dari ekspresi artistik. Dengan menghubungkan symbol budaya barat daan huruf-huruf Korea, Ahn ingin membaurkan batas antara dunia Barat dan dunia Timur. Sebagai bagian dari huruf-huruf yang tergabung, karya Ahn membawa sisi konseptual tipografi ke dalam dunia seni rupa dalam hal yang lebih jauh. Karya berjudul Peace dari Bujangan Urban dan TCF adalah karya kolaborasi yang melibatkan unsur instalasi seni dan graffiti, dengan konteks bahasa dalam bahasa, karya yang menampilkan makna damai dalam bahasa korea dan ungkapan damai dalam bahasa Indonesia sesungguhnya mengajak kita untuk berfikir apa yang harus dilihat dan dimaknai tergantung latar belakang bahasa kita, atau jangan-jangan semua bahasa dan makna itu menjadi tidak penting, yang lebih penting bagi kita adalah karya seni itu sendiri. Karya ini akan mengacak-acak persepsi kita tentang bahasa dan makna melalui medium seni. Dalam konteks tata bahasa dan kota, Ramadhani seniman muda dari Jogja menampilkan karya berjudul Menata Kata Kota, berupa instalasi kawat berbentuk kota yang merupakan kombinasi komposisi organik dan geometris membentuk pola kota, kita bisa melihat bahasa ungkap dari pembangunan tentang kota, seperti percakapan sehari-hari pada sebuah kota. Dengan bahasa ungkap melalui komposisi tersebut, karya Ramdhani mengajak kita untuk mereka-reka bahasa kota dalam ketidakteraturan kehidupan di kota. Akhirnya, pameran ini diharapkan menjadi semacam penghubung kita dalam melihat seni dan tipografi, tentu dalam frekuensi pameran seni medium baru. Kedua hal tersebut masing-masing sarat akan makna, berkaitan dengan banyak hal, termasuk latar belakang dan cara kita memandang. Maka dengan latar belakang para seniman, termasuk seniman-seniman dari Korea, kita bisa berharap ada pertukaran bahasa ungkap budaya diantara mereka dan antara pengunjung, lalu kita nanti bisa menguji, apakah benar salah satu kebutuhan manusia adalah simbolisasi. 을이용하여문자를창조한그의작품은또다른이슈를낳는다. 즉, 예술은또다른언어로표현될수있다. 예술은우리가알고있는혹은합의된것이다가아니라새로운의미를창조하도록촉구한다. 이러한점이바로 TYPOTOPIA 전시회가작가들에게언어와의미의문맥에서예술을표현할수있는기회를준다고할수있다. 작가들은다양한매체와기술을통해작품을표현한다. 예를들면허창봉작가의 한글, 개화하다 는꽃이개화하는아름다움을한글자음의형태적특질로표현한작품이다. 그는한글형태의아름다움을드러내므로써시각적, 그래픽적요소로서의한글과한글문자의무한한스펙트럼을보여준다. 한국의저명한아방가르드작가이자가장영향력있는디자이너의한사람으로알려진안상수는한글타이포그래피의예술적가능성에관심을갖고있다. 한글과서구문화의이미지를병치하므로써동서양의경계를흐린다. 이러한조합을통해그는타이포그래피의개념적인측면, 즉예술의더먼곳까지드러낸다. Bujangan Urban 과 TCF 의작품 평화 는설치예술과그래피티의특징을엮은콜라보레이션작품으로언어속언어라고하는맥락을함축한다. 인도네시아어와한국어로된문자 평화 설치물을통해문자라고하는것이어떤의미를가지고있고또어떻게보여지는가는전적으로각각의언어가갖은배경을통해영향을받는다는사실을상기시키는동시에모든언어와의미는사실중요한것이아니며중요한것은예술작품그자체이다라는것을강조한다. 이작품은예술매체를통해언어의의미에대한우리의지각을뒤섞는다. 족자출신의작가 Ramadhani 는 단어도시개혁 이라는작품을통해언어속문법과도시디자인의연관성을다룬다. 와이어를이용, 유기적이고기하학적인형태의도시를표현한그의작품은도시에서사용하는우리의생활언어와같은, 언어의표현적측면을보여준다. 그는본작품을통해도시의혼돈적삶을대변하는표현적언어의세계로우리를초대한다. 본전시회가예술과타이포그래피의관계를잇는중간자적역할을할수있기를희망한다. 이두가지모두우리가사물을바라보는방식과방법및그외많은것들과연계되어있다. 한국에서온예술가들을포함각기다른배경을갖은모든예술인들이문화를표현하는언어를상호교환할수있을뿐만아니라관객과도나눌수있기를바란다. 이번계기를통해기호화하고자하는인간의욕구가실로맞는것인지확인할수있을것이다. The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 11

12 Ahn Sang-Soo 안상수 D esainer grafis dan tipografer, Ahn Sangsoo merupakan desainer jenis huruf baru Hangul yang ia beri nama Ahn Sang-Soo typeface, Isang typeface, Mir typeface, dan Mano typeface. Ahn adalah pendiri PaTi, Paju Typography Institute dan profesor tamu di Central Academy of Fine Arts, Beijing. Sebelumnya ia menjabat profesor di College of Fine Arts and Design di Hongik University di Seoul. Ia pernah berpartisipasi dan diarahkan dalam berbagai proyek, di antaranya termasuk seniman dan desain logotype untuk Gwangju Design Biennale 2011, typeface design for Amore Pacific s typeface Arita, desain simbol untuk Life Peace Movement, poster and desain patung untuk Hangul 558 th Hangul Day. Ia juga penerima Icograda Education Award di Beijing Congress tahun 2009 dan Gutenberg Prize di Leipzig, Jerman pada tahun Saat ini ia adalah anggota dari AGI (Alliance Graphique Internationale). 그래픽디자이너이자타이포그래퍼인안상수는한글꼴안상수체, 이상체, 미르체, 마노체를개발하였다. 파주타이포그래피학교 PaTI ( 파티 ) 를설립하였고, 베이징중앙미술학원객좌교수를역임하고있는그는홍익대학교미술대학디자인학부교수를지낸바있다 년광주디자인비엔날레주제전에참여하였고, 아모레퍼시픽 " 아리따 " 글꼴개발을지휘하였으며생명평화심볼디자인을진행한바있다. 또한, 555 돌한글날기념공식포스터및행사조형물을제작하였다. 수상경력으로는 2009 년 Icograda Education Award 와독일라이트치히시구텐베르크상을수상한바있다. 현재국제그래픽연맹 (AG) 회원으로활동하고있다. 12 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

13 Letterwork 2014 digital print 124 cm x 95 cm Letterwork 2014 digital print 124 cm x 95 cm The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 13

14 Bujangan Urban & Tangsel Creative Foundation Bujangan Urban 부장안어반 Terlahir dengan nama Rizky Aditya Jablay Nugroho, nama Bujangan Urban dipakai saat berkarya sebagai street artist. Setelah lulus dari Desain Komunikasi Visual Interstudi, bersama teman-temannya mendirikan Artcoholic, sebuah komunitas street art yang aktif menanggapi ruang-ruang publik Jakarta. Saat ini tergabung dalam Gardu House, sebuah ruang alternatif yang fokus pada aktifitas dan pengembangan dunia street art. Rizky Aditya Jablay Nugroho 라는이름으로태어났으나거리예술가로활동하면서 Bujangan Urban 으로불린다. 시각디자인을전공하였고친구들과자카르타거리예술커뮤니티인 Artcoholic 을설립하여왕성히활동하였으며현재 Gardu House 에동참하며거리예술활동과발전에전념하고있다. Tangsel Creative Foundation Adalah komunitas yang memiliki konsentrasi pada pengembangan komunitas lokal, aktifitas seni, dan anak muda di kota Tangerang Selatan. TCF diinisiasi oleh ketua-ketua komunitas di kota itu bersama seniman, desainer, animator, musisi, periset, pelajar, dan pengajar. Beberapa project kolaboratif yang sedang dikerjakan saat ini diantaranya Digital Art Map, dan Project Taman Seni. 남부땅거랑작가재단 남부땅거랑예술활동, 청년활동및지역커뮤니티발전을도모하는커뮤니티이다. 남부땅거랑작가재단은작가, 디자이너, 애니메이션작가, 음악가, 연구원, 학생, 교사등이주축이되어활동한다. 현재디지털아트지도, 예술공원프로젝트외다수프로젝트를공동으로진행하고있다. 14 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

15 Instalasi seni dalam bentuk masif - tersktruktur, istilah yang beberapa waktu lalu sempat populer, adalah salah satu cara menyampaikan gagasan dalam konteks pemanfaatan ruang. ruang yang masif atau ruang kota itu sendiri. Dengan konsep karya Tulisan dalam Tulisan, karya ini akan mengacak-acak persepsi orang tentang bahasa dan makna. Dalam dialektika bahasa kita mengucapkan apa yang terbaca, apa yang telah disepakati. Karya ini akan membaurkan kesepakatan tersebut, meski dengan makna yang sama, maka masihkah kita percaya tentang kesepakatan verbal dalam perihal bahasa karya dan atau tata ruang kota. 대중에게큰호흥을얻었던대규모형태의설치예술을선보이는데, 이설치물은대규모공간이나도시공간을활용한예술품으로공간사용의맥락에서읽을수있다. 글속의글 이라는창의적개념으로제작된본작품은언어와의미에대한우리의지각체계를와해시킬뿐만아니라, 보여지는것과합의된것에대한언어의변증법을통해그러한합의가임의적임을상기시킨다. 비록동일한의미를가졌다하여도, 창작품의언어혹은도시공간디자인에대한묘사에관한한우리의구어적합의를믿는지는의문으로남는다. Peace Monumentally 2014 spray paint, wood 400 CM X 250 CM X 60 CM The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 15

16 Heo Changbong 허창봉 Saya adalah seorang desainer grafis yang berbasis di Seoul. Saya menggagas proyek yang orisinil dan praktis juga pameran yang membawa perubahan sosial 년부터서울을기반으로활동하는그래픽디자이너로사회에새로운변화를가져다줄수있는독창적이고실용적인프로젝트및전시회를개최해오고있다. ABOUT ARTwork Ekspresi menggunakan Hangeul (alfabet Korea) dilengkapi dengan menggunakan kombinasi berbagai macam bentuk seperti pembesaran, simetri, pengulangan. Dengan cara ini, saya menggagas persperktif baru dalam keindahan Hangeul. 한글의자모가확대, 대칭, 반복등다양한조합을통해새로운패턴이미지로완성된다. 이를통해한글의형태적인아름다움을새로운시선으로바라보는하나의방향을제시하였다. 16 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

17 Hangul, Blossom 2009 print 594 cm x 840 cm 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 17

18 Ramadhani Kurniawan Sejak pameran pertamanya ketika ia duduk di bangku SMA di Padang, Dhani yang kemudian mengenyam pendidikan di Institut Seni Indonesia Yogyakarta telah mengikuti sejumlah pameran kelompok di Yogyakarta, Padang, dan Jakarta. Ia baru menyelesaikan pendidikan pascasarjana di ISI Yogyakarta pada tahun 2014 dan saat ini sedang mengeksplorasi media kawat galvanis. 파당에서고등학교재학시절첫번째전시회에참여한바있는 Dhani 는인도네시아족자카르타예술원에서학업을마친후자카르타, 파당그리고족자카르타에서다수의그룹전시회에참여했다 년 ISI 족자카르타석사과정을마치고현재갈바니망소재를연구중이다. ABOUT ARTWORK Menata kata kota merupakan kombinasi komposisi organik dan geometris membentuk pola beragam yang secara keseluruhan menampilkan impresi visual gedung-gedung. Karya ini terinspirasi dari konstruksi tata kota yang didasari kekuatan rancang bangun dan disimbolkan dalam kata kota. Kesan adanya perspektif dan dimensi (kedalaman) dihasilkan dari gradasi warna hitam ke putih pada media kawat. Visual ini direpetisi dengan meminjam latar dinding sehingga menguatkan ilusi optik tiga dimensi pada objek gedung. 도시개혁 은전반적으로다양한형태의유기적이고기하학적인조형물의조합이다. 본작품은계획도시에서 도시 라는단어의상징성과건축디자인에서영감을받아제작되었으며, 검은색에그라데이션을가미점차적으로흰색으로이동하는매체인선을통해건물벽에 3 차원적인착시효과를보여준다. 18 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

19 Menata Kata Kota 2013 galvanized wire, car paint and clear coating 21 cm x 130 cm x 8 cm 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 19

20 Syaiful Aulia Garibaldi Syaiful, yang dikenal dengan nama Tepu, lahir di Jakarta pada tahun Meraih gelar sarjana seni di Institut Teknologi Bandung (ITB) dan saat ini bekerja di Bandung. Ia mengawali pendidikannya sebagai mahasiswa agrikultur sebelum mengejar percobaan seni rupa dimana dia mengaplikasikan latar belakang sains sebagai konsep dasar seninya. Tepu turut berpartisipasi dalam beberapa pameran di dalam maupun luar negri. Beberapa diantaranya adalah Regnum Fungi (2012), Padi Artground, Bandung, Indonesia; Pressing, Videoinsight Center (2013), Turin, Italy; Trick or Truth (2012), Fang Gallery, Jakarta, Indonesia; Design Art: Renegotiating Boundaries (2012), Lawangwangi, Bandung, Indonesia; and Hybrid Project: The Butterfly Effect (2011), Barli Museum, Bandung, Indonesia. Tepu juga berpartisipasi dalam program residensi di Centre Intermondes, La Rochele, France (2014). Pada tahun 2013, ia meraih penghargaan Karya Seni Terbaik dalam Bandung Contemporary Award # 년자카르타생인 Syaiful 은 Tepu 라는이름으로활동한다. 반둥공과대를졸업하고인도네시아반둥에서작가로활동하고있다. 예술계에입문하기전전공이었던농업은그가작업하는데기반이되었다. 인도네시아및해외에서개최되는전시회에수차례참여하였으며최근참여한전시회는 Regnum Fungi (2012 년인도네시아반둥 Padi Artground), Pressing, Videoinsight Center (2013 년인도네시아반둥 Lawangwangi), Hybrid Project: The Butterfly Effect (2011 년인도네시아반둥 Barli 박물관 ) 등이있으며 2014 년프랑스라로셀소재 Centre Intermondes 의레지던스프로그램에참여한바있다 년반둥컨템포러리예술가상중최고의예술가에게수여되는예술가상을수상하였다. ABOUT ARTWORK Karya Tepu menunjukkan sudut pandang kuat yang khas akan seni yang bertabrakan dengan sains dalam budi bahasanya. Karyanya tentang lingkungan immersive tercetus dari ketertarikan dalam jaringan dan ekologi lingkungan yang tidak terhubung, dari sumber daya mikroorganisme sebagai simbol kematian dan kerusakan, seperti hidup. Penggabungan seni dan sains terlihat dalam karya Tepu dan memberi jalan untuk gerbang baru ilmu pengetahuan yang diterangkan dalam instalasi dan cetak. Tepu 의작품은우아한방식으로과학과충돌하는예술의매우강한비전을보여준다. 그가만들어내는몰입환경은생태계의네트워크및상호연결적성질에대한관심뿐만아니라, 죽음과부폐, 그리고삶을상기시키는미생물의상징성에대한관심에서촉발되었다. 그의판화와설치에서보여지듯이예술과과학의조우는 Tepu 의작품을초월하며, 지식에있어새로운관문을제시한다. 20 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

21 Terhah Font Installation # fern, moss, wire mesh variable dimension 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 21

22 TYPOGRAPhY + TECHNOLOGY ADITYO PRATOMO NARPATI AWANGGA A.K.A. OOMLEO SONG JOO MYOUNG ( 송주명 ) Evelyn Huang Curator Sistem huruf merupakan salah satu bentuk teknologi tertua yang prototipenya diperkirakan sudah ada sejak 2000 tahun sebelum Masehi di peradaban Mesir setelah ideogram hiroglif diciptakan.bentuk visual ini diciptakan sebagai sistem komunikasi simbolik oleh peradaban manusia. oncat ke masa kini, penggunaan huruf sebagai simbol L komunikasi secara visual telah menjadi sebuah bidang yang kini dikenal dengan istilah tipografi. Kini teknologi memungkinkan manusia untuk melakukan komunikasi simbolik dengan menekan tuts keyboard atau sekadar menyentuh layar saja. Gestur yang dilakukan untuk membuat simbol berupa huruf dengan tubuh juga telah berubah. Dalam proses penciptaan karya dengan media elektronik, para seniman dalam pameran ini mengulik dan merespon teknologi pada masanya dan mengelaborasikannya dengan huruf, teks, dan tipografi. Pemaknaan yang dihasilkan rentangannya mencakup kesan bermain-main, kontemplatif, dan modular. 문자체계는 BC2000 이후이집트문명에서만든상형문자에서유래된것으로시각형태로된가장오래된기술중하나이다. 이시각체계는소통의상징체계로서인간의문명에의해창조되었다. 오늘날에이르러소통의시각적상징으로서의문자의사용은타이포그래피로알려지게된다. 현대기술은문자사용자들로하여금컴퓨터자판을통하거나터치스크린을통해상징적의사소통을할수있게하였다. 문자의형태로이루어진상징들을만들었던신체의제스쳐역시변화하였다. 전자매체를활용한창작과정을통해, 본전시작가들은시대의기술에주목하거나반응하는작업을펼칠뿐만아니라문자와, 텍스트그리고타이포그래피를이용하여더욱정교한기술을제시한다. 본전시를통해생산된의미는유희적이고, 명상적이며동시에모듈적이다. 22 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

23 Pada karya yang berjudul Hangul yang dibuat tahun 2008, Song Joomyoung merefleksikan aksara Hangul di tengah perkembangan teknologi komunikasi digital. Karya ini lalu direspon lagi olehnya pada tahun 2011 dengan karya yang berjudul Amizade atau Pendamping yang mengedepankan seniman yang berada di garis depan perubahan masyarakat Korea berdampingan dengan negara lain. Melalui karya interaktifnya, Adityo Pratomo hendak menggarisbawahi dua hal dalam peradaban manusia yaitu akar dan pertumbuhan. Media air menjadi katalis tumbuhnya peradaban yang juga berakar pada lapisan kata-kata dan keterkaitan antara tindakan organisme yang satu dengan lainnya. Oomleo terkesima dengan bentuk huruf dan merangkainya dalam partikel terkecil dalam media animasi digital yaitu piksel. Kesan bermain ditimbulkan Oomleo dengan mengajak penonton untuk melihat huruf dalam isometrik atau proyeksi ketiadaan perspektif yang telah menjadi ciri khas karya-karyanya 년제작된송주영작가의작품 한글 은디지털통신기술의발달에나타난한글에대한이미지를반영한작품이다. 작가는 2011 년 벗 또는 Amizade 로명명된작품을통해타국가와함께한국사회의변화의최전선에선예술가들을지지하는작업을선보였다. Adityo Pratomo 는그의인터렉티브작품을통해뿌리와성장이라는인류문명의두가지측면을강조한다. 물이라는매체는문명성장에있어촉매제역할을하는동시에다른단어들과유기체적관계를맺고있다. 문자의형태에관심을갖고있는 Oomleo 는디지털애니메이션의가장작은입자인픽셀를이용하여문자의형태를재배열한작품을선보인다. 관객은균등화법혹은시점이없는투사로이루어진문자들을보며함께즐길수있는데그것이바로그의작품의큰특징이라하겠다. The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 23

24 Adityo Pratomo Adityo Pratomo adalah desainer dan peneliti yang berbasis di Jakarta. Dia meraih gelar sarjana Teknik Elektro di Institut Teknologi Bandung dan Master Interaction Design and Electronic Art di University of Sydney. Karyanya sebagian besar berfokus pada interaksi baru denganmenggunakan perangkat digital dan permainan virtual serta realitas fisik yang diciptakan dengan kombinasi program khusus dan berbagai perangkat dan barang elektronik dan juga mengekploitasi kegunaan perangkat lunak sebagai bentuk seni. Dia mengajar di Universitas Surya dan membangun laboratorium teknologi interaktif pribadi bernama Labtek Indie di Bandung. Karya-karyanya yang terdahulu telah dipamerkan di berbagai pameran di Bandung, Jakarta dan Sydney. Adityo Pratomo 는자카르타에서디자이너및연구원으로활동하고잇다. 반둥공과대학에서전기공학을전공하였으며시드니대학에서전자예술디자인석사과정을마쳤다. 예술의한형태로서소프트웨어를활용한맞춤형프로그램의조합과다양한장치를사용한작품을선보이고있고, 특히디지털장비에의한참신한인터렉션과가상과실재사이의놀이에주력하고있다. 그는현재수리야대학에서전임으로학생들을가르치고있으며반둥에 Labtek Indie 라는인터렉티브기술연구소를설립하였다. 그의작품은시드니와자카르타, 반둥의여러전시회에서소개된바있다. ABOUT ARTWORK Peradaban adalah instalasi tipografi generatif. Instalasi ini menceritakan bagaimana peradaban dibangun dari konstrukti huruf, kata dan tindakan yang saling berhubungan antara organisme hidup melalui energi dari zat organik. Audiens diundang untuk berinteraksi dengan teks yang telah diprogram sebelumnya dan mengubah bentuk dan tampilannya secara dinamis dengan menuangkan air kedalam wadah yang terhubung dengan komputer. Setiap tindakan akan menghasilkan visual yang berbeda yang diterjemahkan dengan implementasi algoritma khusus dalam kode komputer. Peradaban ( 영어로문명 ) 은생성적인타이포그래피설치작품이다. 이설치작품은에너지를통한유기체적삶사이의상호연관성과문자, 단어의구성이문명건설의바탕이된방식의이야기를들려준다. 컴퓨터와연결된용기에관람자가직접물을부어미리정해진텍스트의형태와외형이역동적으로변하는모습을보여준다. 컴퓨터코드로구현된사용자정의알고리즘으로해석되기때문에관객의행위방법에따라각기다른결과물을볼수있다. 24 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

25 Peradaban (Civilization) 2014 mixed media installation variable dimension 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 25

26 Narpati Awangga a.k.a Oomleo Narpati Awangga alias Oomleo, ruangrupa s pixel-artist, web & graphic designer, IT & multimedia practitioner, radio announcer, musician, involved in drawing-painting-muralsprints-printmaking, comics, who is also a writer, curator, columnist, karaoke organizer, MC, hair-stylist, DJ, etc. Awalnya Oomleo menjadi pixel artist adalah karena ia shock saat melihat karya karya Eboy. Ia mencoba membuat pixel art sendiri dan menemukan gayanya setelah menegrti tentang konsep, teknis, kategori dan aplikasi pixel art. Karyanya menyebar dari mulut ke mulut hingga menjadi salah satu pixel artist terkemuka dari indonesia. Dalam dua tahun terakhir, selain berpameran di Jakarta, Bandung, Jogjakarta, Oomleo juga telah merambah kancah internasional dengan berpartisipasi dalam Media/ Art Kitchen:, Bangkok Art and Culture Centre [BACC] di Bangkok, Media Peninsula: Transcoding MultiCultures di Seoul & Kuala Lumpur, dan TRUE COLORS Yebisu International Festival for Art & Alternative Visions - Tokyo Metropolitan Museum of Photography di Tokyo. Oomleo 로도불리는 Narpati Awangga 는픽셀작가, 웹 & 그래픽디자이너, IT & 멀티미디어, 라디오진행자, 음악가, 벽화, 인쇄, 판화, 만화, 작가, 큐레이터, 칼럼니스트, 노래방관리, MC, 헤어스타일리스트, DJ 등다양한분야에서활동하는전천후작가이다. Oomleo 는초창기 Eboy 의작품을보고자극을받아픽셀아트작가의길을걷게되었고, 픽셀아트에대한개념, 기술, 분류및적용을이해하기시작하면서독자적인작품세계를구축하게되었다. 그의작품을본사람들의입소문으로어느덧인도네시아를대표하는픽셀아트작가가되었다. 최근 2 년간인도네시아의자카르타, 반둥, 족자카르타를너머국제미술현장에자주소개되어오고있다. 주요전시로는방콕 Bangkok Art and Culture Centre [BACC] 에서개최된 Media/ Art Kitchen, 서울과말레이시아에서개최된 Media Peninsula: Transcoding MultiCultures, 도쿄사진미술관에서개최된 TRUE COLORS 가있다. ABOUT ARTWORK Font adalah sesuatu yang sangat mengagumkan. Karya ini memodifikasi font dengan memanfaatkan elemen terkecil yang ada pada tampilan monitor digital, akan menghasilkan persepsi tentang font dalam "dunia tanpa perspektif yaitu komposisi font dan proyeksi isometrik. 문자는하나의경이로움이다. 이작품은디지털모니터에나타나는작은입자인픽셀을이용하여문자를수정한작품으로, 투시도 ( 시점 ) 없는세상, 즉문자의구성과균등화법에서드러나는문자에관한시각을제시할것이다. 26 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

27 Playing with Pixel Hangul 2014 animation Video Installation 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 27

28 SONG JOOMYOUNG 송주명 Song Joomyoung, direktur dan pendiri Media art & studio Habitant, memulai pekerjaannya dalam berbagai kategori gambar seperti profil perusahaan, pencahayaan arsitektural, film komersil, iklan, pameran dan bahkan pertunjukan VJ. Dalam era yang serba cepat ini, karyanya tertuju pada interaksi berbasis sudut pandang khusus dan posisi personal audiens ketika melihat karyanya. Dengan menggunakan perangkat digital di luar batas kehadiran korporealitas, kepemilikan emosi dari spontanitas vital dalam interaksi nya. Joomyoung secara konstruktif menggunakan media baru untuk mengkombinasikan merek konunikasi dan desain pencahayaan urban dalam Floating Island, GS holdings Tower, Lotte Shopping Mall FITIN di Seoul, Aurora Tower di Shanghai dan Gwangan Bridge di Busan. Dia juga mencoba untuk menyatukan genre dalam pencahayaan, produk dan desain gambar dalam Sunday Ice Cream Exhibition (2005). Selain itu dia juga mengadakan pertunjukan Vjing yang tidak hanya sebuah karya gambar biasa namun percampuran gambar dalam real-time di festival media Sonar Sound Seoul (2006), dan P.art.y (2007). 그는미디어아트 & 디자인스튜디오인해비턴트의설립자이자디렉터이다. 송주명은브랜드아이덴티티, 건축조명영상, 영화, 상업광고, 각종예술및디자인전시, 공연분야까지미디어아트와디자인의언어를통해현재까지활발히활동하고있는아티스트이자디자이너, 그리고아트디렉터이다. 찰나적변화가이루어지는이시대에다양한형태로구현되는그의작업은뉴미디어아트장르자체의제약인비물질적특성을뛰어넘어관람자의감성적사유가일어나는상호작용을목적으로한다. 송주명은미디어파사드 (architectural illumination) 라는영역을구축한선두주자로서울의강남의랜드마크가된 2006 년역삼동 GS 타워, 2010 년세빛섬, 2012 년상하이오로라타워, 2013 년동대문롯데쇼핑몰의피트인미디어파사드, 2014 년부산광안대교를통해뉴미디어아트영역을브랜드커뮤니케이션영역으로확장하였고, 2008 년 SK 서린동사옥크리스마스트리연출, 2005 년 Sunday Ice Cream 전시를통해조명디자인과뉴미디어아트의결합형태를선보이기도하였다. 뿐만아니라실시간으로음악과영상의믹싱으로구성된 VJ 퍼포먼스를 2007 p.art.y 페스티벌, Sonar Sound Seoul 에서선보여한국공연산업에적지않은반향을일으키기도하였다. About Artwork HANGUL / 2008 Gambar-gambar bertebaran dalam periklanan seni bahkan musik. Kata-kata sepertinya diperas oleh gambar atau menggantikan peranan gambar. Esensi dari sensibilitas teks sejak tahun 70an hingga 90an yang berbudi dalam organisasinya menjadi mentah ketika telepon dan internet berkembang pesat. Karyanya adalah dedikasi yang bergaya kepada stuktur dasar dan keindahan Hangul yang berkerja sebagai kasta terendah dalam banyak industri periklanan, seni dan musik. AMIZADE / 2011 Bahasa tidak hanya moda komunikasi bagi masyarakat. Emosi yang terbentuk dari bahasa itu sendiri adalah tanda emosional yang sangat 한글 / 2008 이미지가범람한다. 광고에서도, 예술에서도심지어음악에서도글자는그림에눌리거나혹은그림의역할을하는모양이다. 70~90 년대잘정돈되어단아한글들이가지고있던위력은인터넷과전화기의비약적인발전에의해그본질적감성을거칠게한다. 이작업은수많은광고산업, 예술산업, 그리고음악산업에서천더기노릇을하는한글의근본적구조와그멋에대한폼나고튼튼한헌정이다. 벗 / 2011 언어는단순히한사회의소통수단이아니다. 언어자체를통해형성되는사회의정서는그민족의문화역사, 산업구조, 토양의특질과기후에못지않게큰영향력을가지는일종의정서적기호이기때문이다. 시간단위의변화가이루어지는현대사회, 그고속화의중심에서있는한글이변 28 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

29 mempengaruhi sejarah budaya, struktur industri, atau kualitas tanah dan cuaca bangsa. Hangul bertransformasi dan berdiri di tengah masyarakat modern yang berubah dari waktu ke waktu. Struktur tegas dari konsonan dan vokal berubah ke dalam bentuk modern dan Hangul digunakan oleh sistem digital kelihatannya cukup dipaksakan namun juga mencari keberagaman. Esensi emosi Hangul kelihatannya menyusur bahkan dalam perkembangan masyarakat modern yang ekstrim. Hangul dibuat pada tahun 2008, adalah bentuk gaya dalam Hangul yang mengekspresikan perkembangan tipe digital dan struktur Hangul dan emosi daripada Korea. Companion, AMIZADE dengan kata lain adalah kelanjutan dari Hangul(2008), dengan menggunakan perkembangan teks dan tanda modern dengan makna companion yang ditambahkan oleh bentuknya. Dibuat dengan maksud membentuk sebuah persekutuan emosi antara timur dan barat dengan memaknai companion yang terkait di dalamnya. Kedua karya ini adalah interpretasi Hangul oleh Joomyeong Song, yang membangun gambar perusahaan dan institusi menggunakan media seni dan desain bahasa di tengah industri dan seni yang berbasis di Asia. Seoul, sebuah kota yang berubah dari waktu ke waktu, dan masyarakat Korea diinterpretasikan dan dibentuk kembali oleh seorang seniman di garis depan perubahan industri. Tidak hanya kata-kata dalam bahasa namun jantung dari masyarakat Korea. 모한다. 닿소리와홀소리의명확한구조화는모던하게그형색을갈아입고, 디지털시스템을통해사용되어지는한글은다소제약적이나다양화를꾀한다. 이거침없는변화에도한글이가진본질적정서에는궤를같이하는듯하다. 친근함의궤 년제작된 한글 은디지털활자의조형성, 한글의구조, 한국적정서를표현한한글의멋이었던반면 벗, amizade 는작품 한글 의연장선에서문자, 기호의현대적인조형성과그형태를통해더해진 ' 벗 ' 의의미를통하여동서양간정서적교감을구축하는의도로제작되었다. 두작품모두한국, 아시아를기반으로예술, 상업의중심에서미디어아트, 디자인의언어를통해유수의기업, 기관의이미지를구축하는아티스트송주명이해석하는한글이다. 하루가다르게빠르게변화하는서울, 그산업의최전방에위치한작가가주관으로재현하는한글은단순한문자나언어가아닌한국사회가가진심상이다. Amazade 2011 motion graphic video loop Hangul 2008 motion graphic video loop 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 29

30 TYPOGRAPHY + PLAY Choi Seung Joon ( 최승준 ) Kim Yongkwan ( 김용관 ) TERRA BAJRAGHOSA Yasser Rizky Jeong-ok Jeon Curator Seni telah menyerupai permainan, perasaan bermain-main telah menjadi elemen penting dalam seni. Seperti dalam teka-teki misterius, seni mengajak kita ke dunia yang penuh keajaiban, seperti sihir, dan penuh dengan pesona. Seperti dalam sebuah misteri, kekuatan besar imajinasi memainkan peranan penting, tidak hanya dalam proses penciptaan, tetapi juga dalam perjumpaan dan hubungan kita dengan seni. Sebagai permainan pikiran kita, kekuatan imajinasi memungkinkan kita untuk lebih berinteraksi dan mendorong partisipasi aktif kita dalam seni. Oleh karena itu, seni rupa kontemporer yang didasarkan pada kontingensi, fiksi, dan trik, hanya memberi rasa tidak sebanyak yang kita tahu, tapi sebanyak yang bisa kita bayangkan. Hal ini yang juga ditunjukkan dalam pameran TYPOTOPIA yang menegaskan hubungan antara prinsip imajinasi dan seni hari ini. Bereaksi sesuai dengan gerakan tubuh seseorang, ada kode-kode tersembunyi yang muncul dari kekacauan, dalam animasi interaktif Choi Seung Joon. Terinspirasi oleh permainan kata anak-anak, karya Choi menunjukkan formasi acak dari huruf yang terletak di antara pola gambar dan makna yang mungkin sama-sama sudah dikenali. Bersinggungan diantara kontingasi dan kebutuhan, karya Kim Yong Kwan menyediakan kemungkinan tak terbatas dalam menyusun huruf dan teks 예술과놀이가하나로융화되면서예술을표현함에있어유희는주요한요소로자리매김하기시작했다. 예술은수수께끼의신비함과마법같은요술의세계로우리를안내한다. 여기에서무엇보다중요한것은바로상상력인데이상상력은창작활동에있어필수불가결한요소이기때문이다. 놀이를통한상상력은우리가작품과소통하고관계를맺는데가교역할을한다. 우연과픽션, 그리고트릭으로가득한현대미술을표현함에있어아는만큼얻어지는것이아니라상상하는만큼보여짐을알수있다. 우리는 TYPOTOPIA 를통해오늘날의미술과상상력이갖는본질적관계를확인할수있다. 신체의움직임에따라반응하는최승준의인터렉티브애니메이션은혼돈속에숨겨진코드를발견하는묘미를주는작품이다. 그의작품은단순한패턴의이미지와인간인지에의한의미사이에작위적으로배열된글자의조합을표현한작품으로아이들의놀이에서영감을받았다. 한편, 김용관의작품은최소한의기하학도형을이용하여무수히많은글자와텍스트를손으로구성할수있게한놀이형오브제로, 우연과필연사이를맴돈다. 개념적으로유사하지만상이한방법을사용하고있는 30 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

31 secara manual menggunakan beberapa balok geometris. Dalam konsep serupa, namun metodologi yang berbeda, Terra Bajraghosa dengan permainan komputer interaktifnya memungkinkan reproduksi tak terbatas pada avatar seseorang dengan eksplorasi pixelasi teks. Yasser Rizky menghadirkan furniture tipografi yang bermutasi menjadi huruf yang berbeda sesuai dengan sudut pandang penglihatan yang mengingatkan kesamaan yang melekat antara huruf dan kode. Terra Bajraghosa 는인터렉티브컴퓨터게임을통해수없이많은아바타와픽셀을사용한텍스트를구현하고있다. Yasser Rizky 는시선의각도에따라철자가변화하는형태의타이포그래피퍼니쳐를통해글자와암호사이의태생적유사성을나타냈다. The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 31

32 CHOI SEUNG JOON 최승준 Choi Seung Joon tertarik pada sistem dan fenomena yang rumit yang muncul dari unsur sederhana. Dengan media baru, dia mencoba mengekspresikan kemajemukan yang terjadi dalam jaringan di antara hubungan yang beragam. Dia suka mengembangkan user-friendly interface yang memungkinkan siapapun dapat berpartisipasi dalam menarasikan karya seninya. Melalui ini, dia mengemukakan bahwa seniman media dapat menjadi media itu sendiri. Dia suka bermain melewati batasan yang tak menentu dalam wilayah antara ada dan tiada. Dia percaya bahwa kekuatan seni media akan menginspirasi berbagai tingkat pendidikan. Untuk dapat terlibat, dia belajar dan bekerjasama dengan berbagai seniman dalam seni plastik, desain, musik, sastra, dan tari. Dia juga membuat subyek ilmiah termasuk dongeng ilmu komputer. Melalui proses ini, dia ingin menjalin dan berbagi pengetahuan, pikiran, serta budaya dengan orang lain. Saat ini, seniman media yang memiliki semboyan Menjadi Media ini mencoba untuk merangkaikan beberapa bidang ilmu seperti IT, Seni, pendidikan. 최승준은단순한원리로부터창발할수있는복잡한현상에관심을갖고이와같은일이다양한관계안에서일어난다는것을뉴미디어를통해드러내고자한다. 또한, 쉽고다양한인터페이스를고안하여누구라도쉽게작품의맥락을형성하는데참여하도록노력하고있으며, 여기에작가자신이미디어로써작용할수있다는가능성을제시한다. 다양한경계를넘나들며없는것 (0) 과있는것 (1) 사이의어슴푸레하고흥미진진한구역에서자유롭게사유하고실천하기를즐겨하고있다. 미디어아트가가지는잠재능력이다양한교육의층위에영감을줄수있을것이라기대하며, 이를실천하기위해조형, 디자인, 음악, 문학, 극, 무용등의다른장르의예술가들과협업하며함께배워가는한편, 컴퓨터과학을비롯한다양한과학적인소재들을예술가들이이해할수있는이야기로풀어내는작업을병행하고있다. 이런과정을토대로지식, 마음, 문화와관계맺고이를함께만들어가는데기여하고자한다. 현재는 Being Media 라는모토를가지고다양한사회적영역을넘나들며미디어아티스트, 교육자, 개발자로활동하고있다. About Artwork HANGUL + IMAGINE adalah percobaan interaktif untuk menelusuri kombinasi huruf HANGUL. Terinspirasi dari mainan anak-anak yang belum fasih membaca dan menulis Hangul namun dapat memainkan huruf HANGUL sebagai balok desain. Tujuan saya dalam karya ini adalah untuk mengeluarkan makna dari huruf. Kita biasanya terikat dengan kemampuan membaca ketika kita melihat huruf sehingga perlu bekerjakeras untuk membayangkan atau melihat kepanjangan bentuk huruf dengan 한글상상은관객의움직임에반응하여한글의자소가임의적으로합쳐지는조형적실험이다. 아직한글을자유롭게읽고쓰지는못하지만한글의자소를조형적인요소로가지고노는어린이들의놀이를보고만들었다. 읽어서의미를파악해야하는글자가아니라정해진의미를탈피하여무작위적으로마음껏조합해보며상상력을발휘해보는것이이작업의의도지만인간은본디패턴인식을좋아하는존재이기때문에무작위적인조합속에서도어떻게든무엇인가를읽 32 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

33 bebas karena kita merupakan makhluk yang mengenali pola. Cobalah lihat apa yang bisa anda bayangkan diluar kemampuan membaca melalui bentuk random huruf HANGUL. Jika anda bisa membaca HANGUL, saya berani bertaruh imajinasi adalah sesuatu yang terikat. Ketika anda mengerti sesuatu dan memperoleh sesuatu mungkin ada hal yang dapat hilang. 어내려는시도를하고있는자신을발견할수있을지도모른다. 보여지는이미지로부터당신은어떤상상을할수있을까? 어쩌면한글을읽을수있는사람이자유로운상상을발휘하기가어려울지도모른다. 무엇을알게되면서얻는것과잃어버리는것이있다. Hangul + Imagine 2009 interactive installation variable dimension 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 33

34 Kim Yongkwan 김용관 Kim, Yongkwan merupakan lulusan dari jurusan seni grafis di Hongik University, Seoul, Korea Selatan dan sekarang dia telah diakui sebagai seniman baru yang menjanjikan dengan menampilkan hasil karyanya di beberapa program residensi seperti Gyeonggi Creation Center, Nanji Art Studio dan Goyang Art Studio. Hasil karya Yongkwan telah diseleksi oleh SeMA, Joongang Fine Arts Prize, Public Art, ARKO dll. Saat ini ia aktif berpergian dan mengadakan pameran di Korea maupun luar negeri (Seoul, Beijing, Venice dan lain-lain). 김용관은홍익대학교미술대학에서판화를전공한후경기창작센터, 난지창작스튜디오, 고양창작스튜디오등국내유수의레지던스프로그램을거치며평단의주목을받고있는작가다. SeMA, 중앙미술대전, Public Art, ARKO 등에선정된바있으며서울, 북경, 베니스등을오가며국내외에서활발하게전시활동을하고있다. About Artwork Kalian dapat membuat seluruh alfabet hanya dengan 7 potongan. 단 7 가지의나무조각으로알파벳의모든문자와다양한패턴을만들수있는블럭완구이다. 34 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

35 Alpha Bit 2014 wood variable dimension 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 35

36 Terra Bajraghosa Terra Bajraghosa lahir (1981) dan besar di Yogyakarta, sebuah kota dengan budaya lokal bertemu dan bercampur dengan budaya dari seluruh dunia sebagai pusat ekspresi seni dinamis. Hal ini mempengaruhi pilihannya akan seni dari hari ke hari. Dia mulai ikut serta dalam pameran seni visual secara profesional pada tahun 2004 dan berusaha untuk tidak meninggalkan latar belakang studinya di Desain Komunikasi Visual sehingga menciptakan lintas disiplin karya seni. Sejak tahun 2006 dia mengajar di almamaternya, Institut Seni Indonesia di Yogyakart. Terra mengembangkan seninya bersamaan dengan ketertarikannya dalam studi komik, terutama berfokus pada kekuatan visual dari sebuah medium. Tesis gelar masternya mengenai bahasa visual komik Indonesia yang terbit pada tahun Dia mencoba untuk berkerja dalam dua dunia, kreasi komik dan studi komik, seperti komik sebagai media naratif dan ekspresif. Terra Bajraghosa 는 1981 년생으로역동적인예술의중심족자카르타에서자랐으며도시가선사하는세계문화와지역문화의융합을통해자신의작업세계에많은영향을받고있다 년참가하기시작한시각예술전시회를발판으로예술활동을지속하고있으나, 자신의학부전공인시각디자인커뮤니케이션을적극활용하면서다학제적인작품을창조하고있다 년부터족자카르타예술원에서학생들을가르치고있고, 특히만화의시각적인면에초점을맞추고있다. 그결과 2005 에서 2013 년사이발간된석사논문도인도네시아만화의시각적언어에대한것이다. 그는창작만화와학문적만화, 이야기의재료이자표현의매체로서의만화연구에정진하고있다. ABOUT ARTWORK Karya seni Terra dimulai dengan material desain, temuan gambar, atau grafik harian dari media populer seperti iklan majalah, band poster, pin-up majalah, kemasan, atau bahkan lukisan klasik di katalog seni. Dia menambahkan narasi dan komentar sosialnya sendiri pada objek tersebut, menciptakan dalam versinya sendiri dengan tema yang dipengaruhi oleh budaya lokal dan populer, diantara kegemarannya akan buku komik, mainan, kehidupan urban dan film fiksi sains. Terra menyimpulkan hal-hal tersebut dalam karya Terra 의작품은디자인, 발견된이미지그리고잡지와같은대중매체, 광고, 포스터밴드, 핀업잡지, 포장지혹은카달로그의고전그림에서출발한다. 자신의이야기혹은사회적코멘터리를이상의이미지들에삽입하거나, 지역문화혹은만화책, 장남감, 도시생활, SF 영화와같은대중문화에서받은영감을자신만의언어로표현하는식이다. 드로잉과픽셀기술을이용할뿐만아니라그만의작품을만들기위해다양한매체, 즉회화, 만화, 애니매이션, 비디오, 장남감, 조각, 오브제설치, 인터렉티브게임등을접목시키기도하고, 관객을작품 36 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

37 seni dengan teknik menggambar atau piksel dalam berbagai media terutama lukisan, komik, animasi, video dan juga mainan, patung, instalasi dan permainan interaktif. Dengan karyanya yang banyak melibatkan audiens secara interaktif, Terra menyadari bahwa karyanya bukan hanya sekedar bercerita atau mengantarkan sebuah pesan namun juga sebuah usaha untuk menghibur orang lain. 에참여시키기도한다. 결국작가는자신의작품이단순히메시지를전달하거나어떠한이야기를표현하는수단이아닌많은사람을즐겁게해주는매체라고믿는다. Pieces of Me 2010 (revised 2014) interactive digital game game engine by Gerdi Budi variable dimension 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 37

38 Yasser Rizky Sejak tahun 2001, Yasser Rizky melebarkan pengaruhnya dalam bahasa desain grafis. Sebagai tambahan peranan akademisnya sebagai seorang dosen, Yasser seringkali mengisi seminar dan diskusi seni, desain grafis, typography, visual, dan branding, membagi kepercayaannya akan hidup dengan generasi desainer grafis yang lebih muda di Indonesia. Pada tahun 2009, dia berkesempatan untuk bekerja dengan seorang desainer legendaris dari Austria, Stefan Sagmeister, di Sagmeister Inc s Experimental Outcamp di Ubud. Pada tahun 2013, Yasser berpartisipasi dalam Biennale Desain dan Kriya Indonesia bersama dengan seniman lain untuk mempresentasikan karyanya di Galeri Nasional. Karya Yasser sejauh ini telah menyentuh berbagai macam disiplin, fokus pada kesempatan yang lebih besar bagi proyek seni pribadi dengan tujuan menyebarluaskannya dalam berbagai bahasa dan media yang berbeda. Yasser Rizky 는 2001 년이래자신의그래픽디자인언어를개발해왔다. 대학강의뿐만아니라예술과그래픽디자인, 타이포그래피, 시각디자인및브랜딩등을논의하는세미나와강연에도동참하였고그러므로서인도네시아그래픽디자인계에종사하는젊은이들과자신의신념을나누어오고있다 년그는디자이너로써삶의큰변화를겪는데, 전설적인호주디자이너 Stefan Sagmeisterd 와함께그의우붓실험캠프에서일할수있는기회를얻게된다. Yasser 는 2013 년다른많은인도네시아디자이너들과함께국립갤러리에서개최된인도네시아디자인 & 공예비엔날레에참여하게된다. 그의작품은다학제를수용하며더넓은기회를갖는데에초점을맞추고있고다양한언어들과매체를활용하는데주안점을두고있다. ABOUT ARTWORK Dalam era teknologi yang sangat maju di mana segala hal mulai menjadi objek digital, Yasser Rizky menyelami forma tipografi digital dan menghadirkannya dalam bentuk nyata di ruang tiga dimensi. Dalam usahanya mencari, mengeksplorasi dan memvisualisasikan ide abstrak dari karakter s + g, Yasser menggabungkan kedua huruf tersebut secara eksplisit dan menemukan keindahan dalam kekacauan struktur huruf yang telah digabungkan. Dengan pendekatan bentuk, struktur geometris dan garis - garis tegas, Yasser menawarkan bentuk s + g menjadi suatu bentuk seni abstrak yang nonrepresentational. 모든것이디지털오브제로전환되고있는기술진보의시대에 Yasser Rizky 는디지털타이포그래피의형태적측면을탐구하는동시에그것을 3 차원의촉각적조각으로구현한다. s 와 g 에드러나는추상적인형태를탐색하고탐구하며동시에시각화할뿐만아니라, 문자를임의적으로결합함으로써문자속혼돈의미를드러내고자한다. 또한형태, 기하학적구조및엄격한선을통해비재현예술로서의타이포그래피의기하학적형태를제시한다. 38 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

39 S + G Sculpture 2014 plywood painted in black gloss 140 cm x 120 cm x 100 cm 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 39

40 English Translation 40 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

41 Foreword Cho Tai-young Ambassador of the Republic of Korea to Indonesia It is my great pleasure to welcome all of you to our 2 nd Korea-Indonesia Media Installation Art Exhibition, TYPOTOPIA. T his exhibition features works by 13 progressive artists from Korea and Indonesia who share an interest in typography. I believe that this exhibition will provide the audience with an exceptional glimpse of the most up-to-date contemporary art incorporating new media and technology, while concurrently offering a unique way to experience the art and culture of two nations that remain in touch with their cultural heritage. Held as part of the Korea-Indonesia Festival 2014, an annual celebration of greater ties and deeper friendship between the Republic of Korea and the Republic of Indonesia, this exhibition is also an important step in enriching the dynamic cultural exchange between our two countries that has been persistently developed for more than 40 years. It is my hope that this event will bring Koreans and Indonesians together in a better understanding of vibrant cultural differences and promote further creative collaboration between the two. Finally, I would like to extend my sincere gratitude and congratulations to the participating artists and the organizers of this exhibition for their great endeavor and meaningful accomplishment. Typography + Art Hilmi Fabeta Curator One basic human need, as Susanne Langer wrote, is the need to symbolize. And one of the basic human characteristics, according to Wieman and Walter, is the ability to use symbols. That ability can be understood as a product of visual experiences and the way humans express themselves through language, text, and meaning. So that language, text, and meaning in art are then related to a series of pictures, shapes, and symbols which can be classified in various ways. The classification of symbols presented by Arthur Asa Berger is as conventional, accidental, and universal. Conventional symbols are words that we learn in order to say something. Universal symbols represent those which are mutually agreed upon and are part of our collective memory. Basically symbols are messages from our unconscious. The nature of accidental symbols is more concealed individual, and related to someone s personal history. Almost every artist uses this language of expression. In the exhibition TYPOTOPIA, the work presented by Syaiful Aulia Tepu Garibaldi, who has a background in biology from UNPAD (Padjadjaran University) and art from ITB (Institute of Technology Bandung), in translating his life experience (seeing cells and microbes under a microscope and the influences of studying art) is one such accidental classification. He creates a new imaginary language but with common meanings that are generally agreed upon. Many layers can be seen in Tepu s work, regarding language, meaning, and conservation, or the way he creates a series of texts using fungi which will continue to grow shows yet another issue; that art can speak in different elements. Art is thus not merely giving meaning to something agreed upon, but it also forces us to create new meanings. This is why the TYPOTOPIA exhibition provides space for the expressive language of the artists in the context of language and meaning. The exhibition The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 41

42 then provides possibilities arising from the explorations of techniques by the artists using various mediums. Huh Chang Bong for example, with the piece titled Hangeul, Blossom takes the essence and form of Korean consonants which are then made as if to bloom like flowers. By exposing the beautiful shapes of Korean letters, Huh invites us to see into the unlimited spectrum of Hangeul and Korean letters as visual and graphic elements. Known as an avant-garde artists and one of the most influential designers in Korea, Ahn Sang Soo demonstrates his interest in developing the potential of Korean typography as a tool of artistic expression. By linking Western cultural symbol and Korean letter, Ahn wishes to blur the boundaries between the West and the East. As part of the letters which are combined, Ahn s piece takes a conceptual side of typography even further into the world of art. The work titled Peace by Bujangan Urban and TCF is a collaborative piece involving elements of installation art and graffiti, in the context of language within language. The piece presents the meaning of peace in Korean language and the expression of peace in Indonesian, actually inviting us to think about the fact that what must be seen and understood depends on our language background, or it could be that all languages and meanings become unimportant and what is more important for us is the work of art itself. This piece will mix up our perceptions on language and meaning through the medium of art. Within the context of the grammar of language and the design of a city, Ramadhani, a young artist from Jogja, presents a piece titled Menata Kata Kota. The installation made of wire is in the form of a city with a composition combining organic and geometric patterns in which we can see the expressive language, such as everyday conversations, found in the development of a city. Through the expressive language of this composition, the piece by Ramdhani invites us to imagine an urban language out of the chaos of urban life. Finally, we hope that this exhibition can become a kind of connector for us in seeing art and typography, of course in the frequency of new medium art exhibition. Both of these issues are full of meaning, relate to many things, including our backgrounds and the ways we view the world. Thus with the different backgrounds of the artists, including artists from Korea, we hope there will be an exchange in the language of cultural expression among them and also with visitors to the exhibition. Then we can test whether or not it is true that one of the basic human needs is the need to symbolize. Ahn Sang-Soo Graphic designer and typographer, Ahn Sang-soo is the designer of new Hangul typefacescalled, Ahn Sang-Soo Che, Isang-che, Mir-che, and Mano-che. Ahn is the founder of PaTI, Paju Typography Institute and invited guest professor at the Central Academy of Fine Arts, Beijing. He was previously professor at the College of Fine Arts and Design in Hongik University in Seoul. He has participated in and directed numerous projects some of which include artist and logotype design for Gwangju Design Biennale 2011, typeface design for Amore Pacific s typeface Arita, symbol design for Life Peace Movement, poster and sculpture design for Hangul 558th Hangul Day. He is the recipient of Icograda Education Award at Beijing Congress in 2009 and Gutenberg Prize in Leipzig, Germany in He is currently a member of AGI (Alliance Graphique Internationale). 42 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

43 Bujangan Urban & Tangsel Creative Foundation Bujangan Urban Born as Rizky Aditya Jablay Nugroho, the name Bujangan Urban (Urban Bachelor) is used when he creates works as a street artist. After graduating from the Design, Communication, Visual Inter-study, together with his friends he founded Artcoholic, a community of street artists actively interacting with public spaces in Jakarta. He is currently working with Gardu House, an alternative space focused on activities and developments in the world of street art. Tangsel Creative Foundation This is a community which concentrates on developing local communities, arts activities, and young people in the city of South Tangerang. TCF was initiated by community leaders of this city together with artists, designers, animators, musicians, researchers, students, and teachers. Some of the collaborative projects that are currently underway include Digital Art Map, and Project Taman Seni (Art Park). About Artwork An art installation in a massive-structured shape, a term that was popular for a while, is one way to present an idea in the context of spatial use, a massive space or the space of a city itself. In the creative concept of Tulisan dalam Tulisan (Writing in Writing), the piece will mix-up people s perceptions of language and meaning. In the dialectic of language we express what is seen and what we agree upon, this piece will blur such agreements, although with the same meaning, thus do we still believe in verbal agreements in the description of the language of creative works and/or urban spatial design? Heo Changbong I am a graphic designer based in Seoul. I suggest original and practical projects and exhibitions that bring social exchange. About Artwork The expression using Hangeul (Korean alphabet) is completed by using the combination of various patterns such as enlargement, symmetry, repetition. In this way, I suggest a novel insight into the beauty of Hangeul. The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA 43

44 Ramadhani Kurniawan Since his first exhibition when he was still a high school student in Padang, Dhani studied at Institut Seni Indonesia Yogyakarta and has taken part in a number of group exhibitions in Yogyakarta, Padang, and Jakarta. He has just completed graduate school at ISI Yogyakarta in 2014 and is now exploring the media of galvanized wire. About Artworks Menata kata kota is a combination of organic and geometric compositions formin g an overall pattern that displays a variety of visual impressions of buildings. This work is inspired by the construction of urban planning that is based on the strength of design and symbolized in the word city itself. The impression of persp ective and dimension (depth) is produced from black to white gradation on wire me dia. This visual is repeated by borrowing the background wall that strengthens the three dimensional optical illusion of the object of the building. Syaiful Aulia Garibaldi Syaiful, who is fondly known as Tepu, was born in 1985 in Jakarta, Indonesia. He attained a Bachelor of Arts from Institut Teknologi Bandung (ITB) and currently works in Bandung, Indonesia. He started off at university as a student of agriculture before pursuing experimental fine arts where he applies his scientific background to create a conceptual foundation for his art. Tepu has participated in several exhibitions in Indonesia and abroad. His recent exhibitions include Regnum Fungi (2012), Padi Artground, Bandung, Indonesia; Pressing, Videoinsight Center (2013), Turin, Italy; Trick or Truth (2012), Fang Gallery, Jakarta, Indonesia; Design Art: Renegotiating Boundaries (2012), Lawangwangi, Bandung, Indonesia; and Hybrid Project: The Butterfly Effect (2011), Barli Museum, Bandung, Indonesia. He particiappted in a residence program at Centre Intermondes, La Rochele, France (2014). In 2013, he was awarded Best Artworks at Bandung Contemporary Art Awards #3. About Artworks Tepu s works show a remarkably strong vision of art that collides with science in a graceful manner. His creation of an immersive environment was sparked by his interest in the networked and interconnected nature of ecologies, and the evocative power of microorganisms as symbols of death and decay, as well as life. An infusion of art and science transcends through Tepu s work and gives way to a new gateway of knowledge, which is illuminated within his prints and installations. 44 The 2nd Korea-Indonesia Media Installation Art Exhibition: TYPOTOPIA

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