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(Besedilo v indonezijskem jeziku / Text in Indonesian language) Sodobna indonezijska družbeno zavzeta fotografija
Contemporary Indonesian Engaged Photography

CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana
77.044(594)"20"(083.824)
VIDENJE [20/20] : skupnost : sodobna indonezijska družbeno zavzeta fotografija :
[katalog razstave] = Vision 20/20 : communitiy : contemporary Indonesian engaged
photography : [exhibition catalogue] / [fotografi Adrian Mulya ... [et al.] ; urednica
Julija Hoda ; prevodi Okky Ardya ... [et al.] ; besedilo kataloga Marija Skočir, Ng Swan
Ti, Saša Kralj]. - Ljubljana : Muzej in galerije Mesta Ljubljane, Galerija Jakopič =
Museum and Galleries of Ljubljana, Jakopič Gallery, 2020
ISBN 978-961-94952-0-9
1. Vzp. stv. nasl. 2. Mulya, Adrian 3. Hoda, Julija
COBISS.SI-ID 304107008 Ljubljana, marec / March 2020
 Adrian Mulya
Aftonun Nuha
Aji Susanto Anom
Albertus Vembrianto
Aprillio Abdullah Akbar
Azhari Setiawan
Djoyosantyo Joachim
Edy Susanto
Eka Nickmatulhuda
Fahreza Ahmad
Fajri Azhari
Fauzy Chaniago
Fotografi / Photographers Hariandi Hafid
Ismar Patrizki
Malahayati
Michael Eko
Muhammad Fadli
Muni Moon
Okky Ardya
Rangga Yudhistira
Romi Perbawa
Rosa Panggabean
Sapta Hudaya
Utami Godjali
Yoppy Pieter
Yusni Aziz
Zulkifli
Z velikim veseljem pozdravljam razstavo z naslovom VIDENJE 20/20, ki zajema ustvarjalnost
27 izvrstnih indonezijskih fotografov. Hvaležen sem za njihovo znanje in navdih, pa tudi za znanje
in navdih kuratorjev: skupaj so omogočili sijajno razstavo, na kateri se bodo od marca do maja
2020 v ljubljanski Galeriji Jakopič predstavile fotografije moje domovine.
Indonezija je v okoljskem, geografskem in kulturnem pogledu čudovita in zelo raznolika dežela,
zato ne preseneča, da je tudi vizualno tako zelo zanimiva. Pokrajina, naravni svet ter stotine jezikov
in kultur, ki jim vdihuje življenje več sto milijonov Indonezijcev, so vzbudili zanimanje teh umetnikov.
Želim si, da bi njihove fotografije vzbudile tudi zanimanje gledalcev.
Veselilo bi me, če bi razstava pripomogla k boljšemu razumevanju Indonezije, njenega okolja in
izjemne kombinacije kultur in tradicij, ki so tolikšno bogastvo Indonezije.
Nazadnje naj izrazim še upanje, da razstava ne bo ponudila samo užitka za oči obiskovalcev,
temveč bo v njih zanetila tudi željo, da sami obiščejo Indonezijo in se na lastne oči prepričajo
o lepotah naše narave in kulture. Veselimo se, da vas bomo lahko kmalu pozdravili v Indoneziji.
Nj. Eksc. dr. Darmansjah Djumala
veleposlanik Republike Indonezije za Slovenijo s sedežem na Dunaju
It is with great pleasure that I welcome the exhibition entitled VISION 20/20 of the creative work of
27 fine Indonesian photographers. I am grateful for their skills and inspiration as well as those of
the curators, which have combined to make possible this wonderful exhibition of these brilliant
images of my country in Jakopič Gallery, Ljubljana from March to May 2020.
Environmentally, geographically and culturally, Indonesia is a fascinating country of vast variety,
and so it should come as no surprise that it is so striking visually. The landscape, the natural world,
and the way of life of the hundreds of languages and cultures enlivened by the hundreds of
millions of Indonesians captured the interest of these artists, as I hope these photographs will
capture the interest of viewers now.
It is therefore my hope that this exhibition will contribute to promoting a better understanding of
Indonesia, its environment, and the beautiful combination of cultures and traditions that so enrich
Indonesia.
Lastly, I sincerely hope this exhibition will not only give pleasure to the eyes of its viewers, but also
spark enthusiasm for all of its viewers to visit Indonesia and experience the wonders of our nature
and culture in person. We look forward to welcoming you in Indonesia.
H.E. Dr. Darmansjah Djumala
Ambassador of the Republic of Indonesia to Slovenia Resident in Vienna

Videnje 20/20. Videti dlje.
Videti stvari takšne, kot v resnici so.
Vision 20/20. To see further.
To see things as they really are.
Marija Skočir, Ng Swan Ti, Saša Kralj
kuratorji / curators
Cilj, da želi umetnostna galerija v Sloveniji, eni najmanjših evropskih držav z (globalno gledano) majh-
nim umetniškim trgom, ki bi ga težko označili za postavljavca smernic, zasnovati in postaviti razstavo
o sodobni dokumentarni indonezijski fotografiji, se morda zdi preveč visokoleteč. Indonezija je naj-
večje otočje na svetu – državo sestavlja več kot 17.000 otokov – zaradi česar je le še težje zajeti in
doumeti njeno neopisljivo raznolikost.
A neodvisen opazovalec lahko o lastnem razumevanju indonezijske fotografije podvomi prav toliko kot
o poznavanju slovenske. Vendarle: kateri dejavniki porajajo dinamične, ustvarjalne centre fotografije,
jih poživljajo in jih delajo privlačne? Je to velikost geografskega prostora, v katerem delujejo, strateški
položaj ali njihova zmožnost združevanja ustvarjalnih izzivov v živahno zbiranje navdihujočih idej?
Videnje 20/20 je del širše vizije Galerije Jakopič – učiti se in dajati možnosti za učenje. Učiti se o drugih
– o njih, a skoznje in skozi fotografijo o sebi. Lanska razstava iraških fotografov je bila prva te vrste
in že z njo smo poudarili različne načine pogleda na svet. Razstava Na moje oči je razkrila drugačen
Irak, kot je tisti, ki ga opredeljuje vojna in zgolj vojna. Na podoben način smo vajeni videti Indonezijo
le kot turistično destinacijo z nekaj ekološkimi problemi in navdušujočo naravo, manj mladi Slovenci
pa jo morda prek gibanja neuvrščenih povezujejo še z nekdanjo Jugoslavijo. Indonezijska fotografija?
Z izjemo objav na Instagramu in prispevkov v reviji National Geographic bi se, iskreno povedano,
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It might seem too ambitious, for an art gallery in Slovenia, one of the smallest European countries,
with a marginal art market in global terms that can hardly be a trendsetter, to create from scratch
and to set up an exhibition that would present the contemporary documentary photography in In-
donesia, the world’s largest archipelago – a country of more than 17,000 islands, which makes it
even more difficult to comprehend in its indescribable diversity.
Independent observers could equally question their understanding of Slovenian and Indonesian pho-
tography. However, what makes vibrant creative centres alive and worthy of attention? – Is it the size
of the space they work in, their strategic position, or is it their ability to combine creative endeavours
into an engaged gathering of empowering ideas?
Vision 20/20 is part of a broader vision of Jakopič Gallery, which is to learn and give opportunities for
learning. Learning about others, about them, but through them and through photography – about our-
selves. We initiated it with last year’s exhibition of Iraqi photographers, which also emphasised dif-
ferent ways of seeing: Over My Eyes exposed a different Iraq than the one defined by war and war
only. We are similarly conditioned to see Indonesia as an exotic tourist destination, with some eco-
logical issues, fascinating nature and, as less-young Slovenians perhaps remember, as connected
to the Non-Aligned Movement with ex-Yugoslavia. Indonesian photography? Presumably, except from
Instagram posts and National Geographic magazine, it would be hard even for most European experts
from the field to think of a photo taken by an Indonesian photographer.
 verjetno tudi večina evropskih strokovnjakov s tega področja težko domislila fotografije, ki jo je posnel
indonezijski fotograf.
Ko se je »evropski« del naše kuratorske skupine začel seznanjati z živimi fotografskimi skupnostmi
v Džakarti in drugje v Indoneziji, smo najprej naleteli na njihovo izredno zaupanje v moč fotografije:
močno in navdušeno, a nikakor ne naivno ali romantično zaupanje. To se je pokazalo kot veliko na-
sprotje geografskemu Zahodu, ki je prepogosto zdolgočasen, razočaran in onemoglo vdan v usodo
medija – posebno glede na njegovo množično uporabo in preštevilne vloge v sodobni družbi. Toda,
kot bo vidno v nadaljevanju, ostalim delom sveta lahko številni posebni, a izjemno dragoceni vidiki
fotografskih praks koristijo, prav tako kot tudi zgodbe in izjave predstavljenih fotografov, ki veliko pri-
spevajo k polnopomenskosti tega projekta. Kot pri večini velikih razstavnih projektov se je kuratorska
skupina tudi tu soočala s ključnim izzivom: določanjem sistema vrednot, ki bo vplival na odločitve in
izbor del, ki jih bomo predstavili občinstvu. Razstava je osnovana na javnem razpisu na temo skup-
nosti, zato smo izbirali samo med fotografi, ki so se nanj odzvali s prijavo. Kuratorski proces je skušal
ne glede na način vizualnega pristopa izbrati dela, ki odločno pripovedujejo o skupnosti – tako vizualno
kot skozi lastno vpletenost fotografov v zgodbe in teme, ki jih vizualizirajo. Namen kuratorjev je bil
torej okrepiti pomen skupnosti skozi izbrana fotografska dela in postavitve.
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This is why, when the “European” part of our curatorial team got acquainted with the vivid photo-
graphic communities in Jakarta and elsewhere in Indonesia, their trust and enthusiasm was enough
for us to wish to discover more. Photography communities in Indonesia keep a very strong, devoted
but far from naive or romantic belief in the power of photography – in contrast to the geographical
West being too often bored, disappointed and decadently resigned about the medium, especially due
to its mass uses and countless roles within contemporary society. However, as will be shown later
on, the rest of the world can benefit from many specific, but extremely valuable aspects of photo-
graphic practices, as well as stories and statements from the presented photographers that also
contribute to the meaningfulness of this project.
As in most major exhibition projects, the curatorial team faces a crucial challenge – how to determine
the value system that consequently influences the decisions and choices for what the audience will
be exposed to.
Firstly, this exhibition is based on an open call on the theme of community. As such, only photogra-
phers who applied were considered for the exhibition. Regardless of the form of visual approach, the
curatorial process attempts to find a body of works that strongly narrates the theme of community
both visually and through photographers’ engagement with their stories and subjects. The curatorial
process tries to strengthen the meaning of community through the selected works and installations.
Dela so raznolika, so odsev kulturne in fotografske dediščine. Segajo od klasične dokumentarnosti –
odgovora na akutne situacije, ki izvirajo iz virtualnih resničnosti – do mešanih medijev (avtorji namreč
vključujejo tudi različne predmete) – a vsa pripovedujejo o relevantnih temah. Izbrane podobe so
lahko izdelane v stari fotografski tehniki – cianotipiji ali v črno-beli analogni tehniki. Nekatere so bar-
vne. Nekatere so ročno izdelane in druge digitalno tiskane na vrsti materialov. Predstavljene so v
knjižni obliki ali kot interaktivni virtualni projekti. V vsakem primeru pa je pomembna njihova spo-
sobnost vizualnega pripovedovanja zgodb.
Predstavitve vseh projektov smo kuratorji uskladili z avtorji, da bi se čim bolj približali njihovim vizijam
ter okrepili vsebino in sporočilo gledalcem.
Dela, sprejeta na podlagi razpisa, in pripadajoče raziskovalno delo skušajo predstaviti geografsko
prostranost Indonezije. Kuratorska skupina je bila zato vesela prijav z vseh delov otočja, ki se raz-
prostira čez tri časovne pasove – od najzahodnejše province Aceh do Papue, vzhodnega roba. Pred-
nost javnega razpisa se je pokazala v tem, da so se poleg lokalno in mednarodno priznanih fotografov
prijavili – in bili izbrani – tudi mladi, plahi, še »nevideni« fotografi. Posledično smo lahko izbrali 28
izvirnih projektov, ki pripovedujejo tako o indonezijski fotografiji, njeni preteklosti in prihodnosti, kot
tudi o globalni družbi in njenih dinamikah.
13
The works are diverse, a reflection of their cultural and photographic heritage. From classic docu-
mentary as a response to social phenomenon, “a fictional documentary” that responds to acute sit-
uations rising from virtual existences, to mixed media and mixed art that use real objects – all
communicate pertinent issues with audiences. Images selected are done in the oldest photographic
technique of cyanotype or black and white analogue. Some are in colour. Some are hand printed, oth-
ers digitally printed on a variety of materials, presented as a book or interactive virtual projects. The
visual storytelling skills matter, regardless.
All presented projects were discussed to satisfy each photographer’s vision as much as to strengthen
the content, and communication of the content to the viewers.
The works received from the open call, and accompanying research, attempt to represent the geo-
graphical vastness of Indonesia, and the curatorial team was glad to receive submissions from the
far west of the three-time-zone-wide archipelago, Aceh province, to the eastern edge, Papua. The
advantage of the open call proved itself in the fact that some young and “unknown,” shy and unseen
applied and were selected – alongside those already locally and internationally recognized. As a re-
sult, we have 28 intriguing projects talking as much about Indonesian photography, its past and future,
as about global society and its dynamics.
 Indonezijska fotografska zgodovina je dolga in burna. »Leta 1840, leto po tem, ko je francoska vlada
svetu poklonila darilo dagerotipije, je Jurriaan Munnich (1817–1865), zdravstveni inšpektor, prejel
naročilo za fotografiranje razgledov, rastlin in naravnih posebnosti na Javi, vključno z budističnim
svetiščem Borobudur iz devetega stoletja,« v svoji znameniti knjigi Photography in South East Asia –
A Survey1 piše Zhuang Wubin.
Kassian Cephas (1845–1912), javanski dvorni slikar, je bil prvi domači fotograf. V svojem članku The
Challenge of Space: Photography in Indonesia, 1841–1999 kurator in pedagog Yudhi Soerjoatmodjo piše,
da »Cephasove fotografije sultanove družine, svetih obredov dvora, gledaliških nastopov in celo ru-
ševin javanskih hindujskih templjev niso podobe, ki izražajo individualnost, temveč dostojanstvo«.2
Po uspehu protikolonialističnih prizadevanj in razglasitvi neodvisnosti leta 1945 sta se fotografija in
družba razvijali vzporedno, zaznamujejo pa ju tri glavna obdobja, ki so naznanjala spremembe para-
digme v obravnavanju fotografije. Prvo obdobje, do leta 1965, je bilo obdobje prvega predsednika Su-
karna, enega od ustanoviteljev gibanja neuvrščenih, ki je imel tesne vezi z nekdanjo Jugoslavijo. To
obdobje se je končalo tragično in burno; dogodki, ki so sledili domnevnemu prevratu, in prelita kri še
danes zaznamujejo indonezijsko družbo. Naslednje je bilo obdobje med vladavino nekdanjega gene-
rala Suharta in njegovega »novega reda«, ki je trajal, dokler ga ni leta 1998 izgnalo študentsko vodeno
14
Indonesian photographic history is long and turbulent. “In 1840, a year after the French government
presented the daguerreotype as a free gift to the world, health officer Jurriaan Munnich (1817–1865)
received a commission to photograph views, plants and natural objects in Java, including the ninth-
century Buddhist complex of Borobudur,” writes Zhuang Wubin in his landmark book Photography in
Southeast Asia – A Survey.1
Javanese court painter, Kassian Cephas (1845–1912) was the first native photographer. In his article,
The Challenge of Space: Photography in Indonesia, 1841–1999, curator and educator Yudhi Soerjoat-
modjo writes that “Cephas’ photographs of the Sultan’s family, the sacred ceremonies of the court,
the royal theatrical performances or even the ruins of Hindu-Javanese temples were ‘not images ex-
pressing individuality but images representing dignity.”2
After the success of the anticolonial struggle and declaration of independence in 1945, photography
and society developed in parallel, and are marked by three main eras that signalled paradigms shifts
in the treatment of photography. The first era until 1965 was the era of the first president Sukarno,
one of the founders of the Non-Aligned Movement that had very close ties with former Yugoslavia.
This era ended in tragic and turbulent events following an alleged coup and subsequent bloodshed
that marks Indonesian society even today. The next era was during the ruling of Suharto’s so-called
New Order which lasted until the student-led Reformation movement ousted him in 1998. During
reformacijsko gibanje. »V tem obdobju,« razlaga Yudhi Soerjoatmodjo, »sta bili kultura in umetnost
/…/ ujeti v meje svojih denarnih potencialov. Za državne muzeje in kulturne centre je to pomenilo, da
so obtičali pri zgodovinskem in starinskem, saj je to zanimalo turiste. V času gospodarskega razcveta
v 80. letih pa so komercialne galerije za svojo primadono določile slikarstvo, katerega prestiž in na-
pihnjene cene so ugajali obsedenosti lokalnih novopečenih bogatašev z vsem, kar je edinstveno in
dobičkonosno. Posledično v nobenem od teh prostorov niso niti v sanjah pomislili, da bi svoje posve-
čene hodnike odpirali nečemu tako neopredeljivemu in navadnemu, kot je fotografija.«3
Tako so izbrani projekti na razstavi Videnje 20/20 po večini delo avtorjev, ki so bili aktivni v prvem
desetletju po letu 2000. Ta generacija je prišla po obdobju reformacije leta 1998; zaznamovala jo je
svoboda tiska. Zdelo se je, da te ustvarjalce ženeta tako želja po mednarodni pozornosti kot tudi po-
treba po dokumentiranju in sodelovanju pri oblikovanju lastne družbe. Avtorji so prerasli lokalno fo-
tografsko dediščino in vsesali druge vplive z vsega sveta. Spoznali so vélike praktike in njihov način
razmišljanja. V svetu uveljavljeni izraz »zavedni fotograf« se je preoblikoval v izraz »angažirani foto-
graf«. Za razliko od prejšnjih generacij indonezijskih fotografov, ki so bili po večini samouki, so ti iz
obdobja po reformaciji imeli možnost izobrazbe. Džakartski inštitut za umetnost je bil leta 1992 prva
ustanova, ki je tečaj fotografije nadgradila v diplomski študij. Nekateri od predstavljenih avtorjev so
15
that period, as Yudhi Soerjoatmodjo elaborates, “For over thirty years, culture and art were packaged
in terms of their monetary potentials. For state-run museums and cultural centres, this had meant
being stuck with the historic and the curious, as these were what the foreign tourists wanted to see.
Meanwhile, in the economic boom of the 1980s, commercial galleries made painting their prima
donna because its prestige and inflated price appealed to the local nouveaux-riches’ obsession with
the exclusive and lucrative. Consequently, neither of these places would dream of opening their hal-
lowed corridors to something as unclassifiable and common as photography.”3
Now, in the Vision 20/20 exhibition, selected projects are mostly produced by the authors who were
active in the 2000s. This generation came after 1998, the Reformation era, marked by freedom of the
press. A boom in international attention, but also the urge to document, participate in, and shape
their own society, seem to be the drive. The authors grew out of their local photographic heritage,
but inhaled other influences from around the globe. They got to know the great practitioners and
their ways of thinking. The term “concerned photographer” developed and grew into “engaged pho-
tographer.” Unlike the previous generations of photographers in Indonesia who were mostly autodi-
dacts, the post-Reformation era photographers had opportunities for education. The Jakarta Institute
of the Arts was the first institution that, in 1992, upgraded photo classes into a degree. Some of the
exhibited authors were exposed to formal photographic education from institutions like the Indonesia
Institute of the Arts in Yogyakarta. Many pursued and experienced informal photography education

bili deležni formalne fotografske izobrazbe, na primer na Indonezijskem inštitutu za umetnost v
Džogdžakarti. Mnogi so se posvetili neformalnemu študiju in pridobili svojo fotografsko izobrazbo v
Galeri Foto Jurnalistik Antara (Galeriji za fotoreportažo Antara), ki jo je leta 1992 odprla nacionalna
tiskovna agencija Antara. Inštitut PannaFoto je leta 2006 ustanovil Sinartus Sosrodjojo in mu dal velik
zagon z delavnico World Press Photo. Istega leta je Anton Ismael zasnoval Kelas Pagi Jakarta, tri leta
kasneje pa še enoto Kelas Pagi Yogyakarta. Večina fotografov je bila aktivnih v lokalnih fotografskih
skupnostih, nekateri pa so posegli prek državnih meja in denimo s sodelovanjem na festivalu Angkor
Photo Festival & Workshops v Siem Reapu v Kambodži pridobili uradno izobrazbo iz fotografije.
Pomanjkljivost teh dejstev je, da fotografsko izobraževanje po večini še vedno poteka le v indonezij-
skem glavnem mestu Džakarti in drugih večjih mestih na Javi. Priložnosti za tiste, ki živijo na zunanjih
otokih otočja, je malo. Vztrajni posamezniki so tako samouki ali pa se, če imajo srečo in naletijo na
podobno misleče v bližini, učijo in razvijajo svoje sposobnosti v raznolikih fotografskih skupnostih.
V današnji Indoneziji in njeni fotografski dinamiki zaznavamo več tokov, ki tečejo vzporedno, si včasih
nasprotujejo, se križajo ali pa drug drugega izpopolnjujejo ter ustvarjajo edinstveno mešanico, ki je
mnogo več kot le skupek svojih členov – v njej mrgoli raznolikih vibracij, odnosov, povezav in medse-
bojnih vplivov.
16
with the Galeri Foto Jurnalistik Antara (Antara Gallery of Photojournalism), inaugurated in 1992 by
the Antara agency. The PannaFoto Institute was established in 2006 by Sinartus Sosrodjojo and kick-
started with World Press Photo workshops. Kelas Pagi Jakarta was initiated by Anton Ismael that
same year, with its extension Kelas Pagi Yogyakarta three years later. Most photographers were in-
volved in local photo communities while a few went beyond national borders and gained education
in photography by participating in the Angkor Photo Festival & Workshops, Siem Reap, Cambodia.
On the downside, the majority of education in photography still mostly happens in Indonesia’s capital
Jakarta and the larger cities across Java island. For those who live on the outer islands of the archi-
pelago, opportunities are few and far between. Those persistent individuals mostly depend on self-
education and, if lucky enough to encounter more individuals like themselves in their proximity, they
learn and develop photography skills within diverse photo communities.
In today’s Indonesia and its photographic dynamic, we detect several currents that run parallel, some-
times conflicting, intersecting or enhancing each other, giving rise to a unique blend, much larger
than the hum of its parts. (“Hum” is not a typing mistake as “hum” denotes more than just units, im-
plying vibrations, relationships, bonds and interactions.)
Teoretične smernice pričujočega kuratorskega procesa bi lahko strnili v nekaj točk:
VERNAKULARNO: opira se na lokalne tradicije v uporabi tehnik in/ali aktualne lokalne teme, ne glede
na širše težnje;
»ESTETIKA ZATIRANIH«: umetnost je postopek prehajanja v drugačnost, umetniško delo pa stranski
proizvod tega postopka;4
»ZEN USTVARJALNOSTI«: intuicija je sedanji, odločilni trenutek, ko preteklost ne obstaja več, prihod-
nost pa še ni prišla; umetnik se bolj opira na lastne izkušnje kot na umetnostno teorijo;5
KONTEKSTUALIZACIJA: dokument (fotografija) velja toliko, kolikor moči kontekstualizacije nosi v sebi;
če želimo idejo reportaže v smislu dokumentarne fotografije prenesti v svet vizualnega pripovedo-
vanja zgodb, moramo upoštevati besede Johna Bergerja: »V poročanju so dvoumnosti nesprejemljive,
v zgodbah pa nujne.«6 In ravno to odmeva v naraščajočem trendu, ki bi ga lahko opredelili kot vizualno
pripovedovanje zgodb v Indoneziji – opazovanje družbenih kontekstov z osebnega stališča.
Menimo, da je vse to relevantno za fotografske skupnosti v Sloveniji, širši regiji in Evropi nasploh. Še
več, mislimo, da so ta načela in posledično zgodbe, ki na njih temeljijo, pomembni za širše občinstvo,
ki bo obiskalo razstavo.
17
Theoretical guidelines in this curatorial process could be suggested as:
VERNACULAR: Relies on local traditions in technique and/or topics of local relevance regardless of
the wider trends.
AESTHETICS OF THE OPPRESSED: Art is the process of becoming otherness and artwork, a side
product of that process.4
ZEN OF CREATIVITY: Intuition is the present moment, a decisive moment where the past does not
exist as it is already gone, while the future does not exist as it did not yet happen. In addition, the
artist refers to and relies on their own experiences rather than on art theory.5
CONTEXTUALIZATION: The document (a photograph) is as valuable as the strength of its contextual-
ization. As we take the idea of reportage as documentary photography into the visual storytelling
realm, we have to consider John Berger’s words: “In reports ambiguities are unacceptable, in stories
they are inevitable.”6 And this stems from the rising trend we could identify within visual storytelling
in Indonesia – observing social contexts from a personal point of view.
All of this we believe is relevant to the photographic community in Slovenia, the wider region and
Europe. Moreover, we think those principles, and consequently the stories chosen based on them, to
be pertinent to wide audiences who will come and visit the exhibition. The exhibition and the eclectic
 Razstava sama in eklektični pristopi izbranih fotografov bodo sprožili odziv in se najverjetneje do-
taknili širšega občinstva, naj bo to naključni obiskovalec galerije, ki ga zanimajo daljne dežele, kulture,
družbe in politika, ljubitelj umetnosti ali pa poznavalec.
Niso vsi izbrani avtorji poklicni fotografi. Nekateri so pisci in se izražajo z besedami, drugi so poslov-
neži in tretji strokovnjaki različnih zvrsti, ki fotografijo uporabljajo za raziskovanje ali pripovedovanje
zgodb z različnih stališč ter aktivno sodelujejo v družbi in okolju. »Fotografska skupnost« je pomem-
ben izraz v indonezijskem svetu fotografije – in na tej razstavi bo tudi obiskovalec postal njen del.
Skupnost vsakomur ponuja priložnost, da postane vizualni pripovedovalec zgodb, in kar je še po-
membneje: zavzet pripovedovalec zgodb. »Vsaka kultura, ki je obstajala pred našo, je videze obrav-
navala kot znake življenja. Vse je bilo legenda, dostopna prostemu očesu. Videz je razkril podobnosti,
analogije, naklonjenosti in mržnje; vsaka je nekaj sporočala. Skupaj so ta sporočila razložila vesolje.«7
Zato je vizualna pripoved zgodb 270 milijonov ljudi z otočja pomembna in se povezuje z 2,07 milijona
ljudi iz alpske države.
Indonezija je dom enega največjih svetovnih rezervatov deževnega gozda, ki je hkrati eden najbolj
zlorabljenih naravnih virov. Tam ne najdemo samo flore in favne, temveč tudi izginjajoče podeželske
skupnosti, ki so se v stoletjih naučile živeti v naravi in skupaj z njo, v tihi simbiozi, kot skupnosti lov-
18
approaches of those selected will strike a chord, and will most probably find resonance with a diverse
audience be it the accidental gallery visitor, the one drawn by curiosity of faraway lands, cultures,
society and politics, or the art lovers and connoisseurs.
Not all authors selected are professional photographers. Some are writers and text people, some
are business women and men, and others are professionals of diverse sorts who use photography
to explore, narrate stories from a variety of viewpoints, and actively engage with society and envi-
ronment. “Photo-community” is an important term in the photographic world of Indonesia and at this
exhibition, the visitor becomes part of it. Being part of photo communities provides opportunities for
anyone to be a visual storyteller and, even more importantly, an engaged storyteller.
“All cultures previous to our own treated appearances as signs addressed to the living. All was legend:
all was there to be read by the eye. Appearances revealed resemblances, analogies, sympathies, an-
tipathies, and each of these conveyed a message. The sum of these messages explained the uni-
verse.”7 This is how visual storytelling from the archipelago of 270 million people matters and relates
to an Alpine country of 2.07 million people.
Indonesia is home to some of the world’s largest reserves of one of the most abused natural re-
sources – rainforests. The rainforest is home not only to the flora and fauna, but also to disappearing
rural communities that have learned, over the centuries, to live with and among them, in quiet sym-
cev/nabiralcev, živeče megalitske kulture ter ribolovne skupnosti. Deževni gozdovi se zdaj s strašljivo
hitrostjo spreminjajo v izstopajoča velemesta – visokotehnološka futuristična mestna okolja, ki v svoji
naraščajoči skrajnosti dobivajo distopične lastnosti. Vse to je hkrati blagoslov in prekletstvo, vir in
ovira fotografu, ki v središču tega diha in ustvarja.
Delo Yoppyja Pietra vzbuja občutek izgubljene nedolžnosti ali pa zapuščenega raja – kakor komu
bolj ustreza. Delo na razstavi je natisnjeno na naravnem materialu, da se tako poveča občutek naravne
smrtnosti in umiranja preteklosti in narave. Na prvi pogled bi projekt lahko zmotno označili za »ek-
sotičen« stereotip Evropejcev o otočju, tako pogosto predstavljenem s kičastim klišejem upodobitev
iz hollywoodske filmske industrije. Daleč od tega. Vizualna zgodba je rezultat dveletnega dela foto-
grafa, ki je bil prvi indonezijski predstavnik, izbran na natečaju World Press 6x6 Global Talent Program,
in udeleženec izobraževanja Joop Swart Masterclass. V skupnosti se še naprej udejstvuje in svojo
raziskavo širi na druge vidike družbe v Sumpuju na otoku Sumatra. Leta 2016 je inštitut PannaFoto
objavil njegovo knjigo z naslovom Saujana Sumpu, katere odlike je prepoznala tudi sodobna umetno-
stna galerija 111 East Gallery v Siem Reapu v Kambodži.
Navidezna krhkost riževega papirja z eteričnimi črno-belimi motivi skriva globoko zgodbo urbaniza-
cije matriarhalne družbe starodavnega Sumpuja blizu jezera Singkarak, ki leži v osrčju izginjajoče
19
biosis, as hunter-gatherers, living megalithic cultures, and fishing communities. The rainforests are
now transforming at an alarming pace into bulging megapolises – the hi-tech futuristic urban envi-
ronments that in their growing extreme take up dystopian qualities. All of that is both a blessing and
a curse, a resource and an impediment for a photographer breathing and creating in the midst of it
and as a part of it all.
The work of Yoppy Pieter has a rural feel of innocence lost, or forsaken paradise, whichever pre-
dictable statement one is fonder of. In the exhibition, the project is executed on natural paper to en-
hance the feeling of the natural mortality, and dying of the past and nature. At a first, distanced glance,
the project might be confused as the “exotic” stereotype that Europeans could have of the archipelago,
often portrayed through kitsch-cliché Hollywood-like productions. Nothing like it. This visual tale is
the result of two years of engagement by the photographer who was the first selected from Indonesia
for the World Press Photo 6x6 Global Talent Program and the Joop Swart Masterclass. He continues
to engage with the community and expands his research on other aspects of the society of Sumpu,
on the island of Sumatra. In 2016, PannaFoto Institute published his book Saujana Sumpu, and the
work from this series was recognized and acquired by a renowned contemporary art gallery, 111
East Gallery, in Siem Reap, Cambodia.
Like all prejudices, the seductive fragility of light rice paper with etheric black and white motifs hides
a deep story of the urbanization of matrilineal society of ancient Sumpu, near lake Singkarak, in the
YOPPY PIETER YOPPY PIETER
 kulture ljudstva Minang. Yoppyjeve slike so labodji spev Sumpuja, kraja daleč od središča urbane me-
stne sodobnosti. Sumpu občuti njene posledice, ne prepozna pa nujno vzrokov.

Sumpu je resnična družba, skupnost z resničnimi čustvi, daleč stran od virtualnosti in virtualne
družbe, ki danes cveti v Indoneziji. Pomeni oster kontrast s svetom, v katerem je bil vzgojen Yoppy, a
vsemu navkljub v njem najde z njim globoko povezavo. V intervjuju opisuje, da tukajšnje ženske dajejo
občutek, s katerim se lahko poistoveti – občutek zapuščenosti. Ne gre le za pasivno ali umetniško iz-
ražanje te povezave; gre za del njegovega širšega angažmaja, saj si kot ustanovitelj projekta Arkademy
prizadeva za spodbujanje uporabe fotografije kot ustvarjalnega sredstva za posameznikovo izražanje
samega sebe, družbe in odnosov med njima.

Prosojnost riževega papirja stopa tudi v kontrast z grobim črno-belim projektom Nomophobia. Indonezija
je dandanes prva država na lestvici uporabe družbenih omrežij na svetu, saj ima slednje tu 143,26 mi-
lijona uporabnikov. Povprečni Indonezijec preživi na spletu osem ur in šestindvajset minut dnevno, od
tega tri ure in šestindvajset minut na družbenih omrežjih, kar je uro več od svetovnega povprečja.8

Kritično opazovanje tega futurističnega in distopičnega vidika indonezijske urbane družbe izstopa v
delu Fajrija Azharija. Da lahko obravnava različne vidike in dogodke, ki se vrtijo okrog odvisnosti od

23
heart of the disappearing Minang culture. Yoppy’s images are the swan song of Sumpu; a place far
away from the hub of urban Indonesian modernity, feeling its consequences without necessarily per-
ceiving the causes.
Sumpu is a real society, a community with real emotions, far away from virtuality and virtual society
that blooms in Indonesia today. It stands in stark contrast to the world Yoppy was raised in, yet in it
he finds a profound connection. In an interview, Yoppy said the women represented the very feeling
he could identify with personally – being left behind. This connection is not just passive or artistically
expressed; it is an active component of his wider engagement as a co-founder of the Arkademy project
aiming to promote the use of photography as a creative medium for exploring self, society and the
relations between the two.
The fragility of rice paper is contrasted with the rough black and white project Nomophobia. With over
143.26 million internet users, today’s Indonesia is the social network’s capital of the world. The av-
erage Indonesian spends 8 hours and 26 minutes online every day.8
Critical observation of that futuristic and dystopian aspect of Indonesian urban life comes through
strongly in the work of Fajri Azhari. He created “a fictional documentary” to address different aspects
and events revolving around dependency on social media, virtual existence and the social conse-
quences on youth especially. The images are choreographed yet inspired by, and depicting, real

YOPPY PIETER
FAJRI AZHARI FAJRI AZHARI
 družbenih omrežij, virtualnega obstoja in družbenih posledic tega (posebej na mlade), je ustvaril »do-
mišljijski dokumentarec«. Podobe so inscenirane, a posnete po navdihu resničnih dogodkov. Azhari
razlaga: »Nomofobija je odvisnost od elektronskih naprav. Projekt se je rodil iz moje skrbi za prijatelje,
ki so postali odvisni in so v skupini začeli opuščati neposredno komunikacijo iz oči v oči. Želel sem
prikazati resnične dogodke zgodnjega obdobja njihove odvisnosti.« Jasno je, da so resnični dogodki
osrednji del dokumentarne fotografije. Včasih so to dogodki, ki jih fotografi pri določeni nalogi v imenu
dolžnosti in preživetja lovijo, drugič pa so sprožilci bolj osebnega raziskovanja in tako postanejo pred-
stavniki širših pojavov znotraj določenega konteksta.
Pravljični grad bi bil lahko zabaven, če ne bi bil tragičen spominek obrobne četrti širnega džakart-
skega velemesta, v katerem je odrasla Malahayati. Živina, ki se v skupnem prizoru z gradbenimi žer-
javi in nebotičniki zazdi neznatna, prikazuje dvojnost življenja in dvojnost glavnega mesta Indonezije,
za katero oblasti v kratkem načrtujejo selitev. Prenaseljenost in okoljske težave, kot so hude poplave,
so celo politični eliti dale vedeti, da je to potrebno.9
Poleg krute resničnosti urbanih pošasti, ki teptajo njene spomine na otroštvo, je Malahayati naletela
še na druge težave. »To je bilo zame obdobje, preplavljeno s čustvi. Žalost, razočaranje, jeza in sreča,
vse se je pomešalo,« je razkrila v pogovoru s kuratorsko skupino in opisala, kako je izkoristila prednosti

27
events. He explains: “Nomophobia is an addiction because of gadgets. The project was triggered by
my anxiety about friends who became addicted and began to reduce direct, face-to-face, interactions
in the group. I went to illustrate the real events of their early addiction.”
Of course, real events are mostly at the core of documentary photography. Sometimes they are events
photographers pursue in the course of duty and survival, following some assignment. Other times
they are triggers for a more personal exploration that then becomes representative of wider phe-
nomena within a certain context.
A toy castle is almost humorous, if it would not be a tragic remnant of the marginal quarters of the
sprawling Jakarta megapolis Malahayati grew up in. Cattle dwarfed by construction cranes and sky-
scrapers depict the dichotomy of life in the soon-to-be-moved capital of Indonesia. Even the elites
within the politics feel a pinch due to overpopulation and environmental issues such as severe floods.9
Beside the harsh reality of urban monsters trampling over childhood memories, Malahayati encoun-
tered other issues. “It was an emotionally heavy period for me. Sadness, disappointments, anger and
happiness, they all mixed at the same time,” she shared in her talk with the curatorial team, describing
how she used the advantages of being a documentary photographer within her personal context that
at some point confined her to care-giving and house work. Her son, Dyandra, diagnosed with High
Functioning Autism (HFA), became her main occupation. Urban “development” however, did not mirror

FAJRI AZHARI
MALAHAYATI MALAHAYATI
 svojega poklica dokumentarne fotografinje znotraj svojega osebnega konteksta, ki jo je omejil na skrb
za otroka in gospodinjstvo. Ko so njenemu sinu Dyandri postavili diagnozo visoko funkcionalnega av-
tizma (VFA), je to namreč postalo njena glavna dejavnost. Urbani »razvoj« pa ni prinesel tudi socialne
podpore in pomoči tistim, ki jo v družinah in skupnostih potrebujejo. Prepuščeni so bili sami sebi.
Z izobrazbo, ki jo je Malahayati pridobila v Galeriji za fotoreportažo Antara, in z nekaj leti delovnih iz-
kušenj na tem področju je lahko v osebnem dokumentarnem delu našla način za spopadanje z ne-
gativnimi čustvi. Med letoma 2013 in 2019, od Dyandrovega tretjega do devetega leta, je večinoma
fotografirala z mobilnim telefonom in fotografije objavljala na Instagramu in v blogu z dolgimi pripisi.
Opisovala je vsakodnevno obnašanje svojega sina in terapevtski proces, pa tudi navade, ki spremljajo
otroke z avtizmom. Njena fotografska skupnost jo je morala k temu najprej spodbuditi, saj je imela
pomisleke glede razkrivanja svoje osebne krhkosti javnosti. Bala se je, da jo bodo obsojali ali da njena
zgodba morda ni dovolj zanimiva. Ta sovpad njene zasebnosti in poklica dokumentarne fotografinje
je bil odločilni trenutek tako zanjo, za njenega sina oziroma družino kot tudi za množico drugih ljudi,
ki so si z njo pričeli dopisovati o podobnih lastnih izzivih in težavah. Nova skupnost je rasla. Iz lastne
osamljenosti, v katero se je pogrezala s svojimi izzivi, je Malahayati navdihnila mnogo ljudi, ki so se
v svojem življenju prav tako počutili kot ujetniki osamljenosti, in tako ustvarila podporno skupnost.
30
the development of the care for those in need, and care-providers within families and communities.
They were left to fend for themselves.
As Malahayati was trained in photography at Antara Gallery of Photojournalism, and worked as a
professional for years, she found a venue for frustration in her personal documentary work. Between
2013 and 2019, when Dyandra was 3 to 9 years old, she has been taking pictures mostly with her
cell phone posting them online, on Instagram, and in a form of a blog with extended captions. She
shared her son’s daily behaviour and therapeutic process, describing the habits that accompany chil-
dren living with autism. Her community of fellow photographers at first had to encourage her to do
so as she hesitated about opening her personal fragility to the public and feared being judged or not
interesting enough. This intersection of her private realm and her vocation as documentary photog-
rapher, was a turning point not just for her, her son and her family, but for a multitude of other people
who started to communicate with her about their own similar issues and challenges. The new com-
munity grew. From Malahayati being alone in her challenge, she inspired many who also felt impris-
oned in their loneliness and consequently created a community of support. Documentary photography
became an agency for transformation of her private constraints and of the community touched and
formed by her ongoing project. Formerly marginalized, her son becomes a crucial partner in Mala-
hayati’s artistic process.
Dokumentarna fotografija, gonilo preobrazbe njenih zasebnih omejitev, je tako posegla v širšo druž-
beno skupnost. Njen sin, prej potisnjen na obrobje, je postal ključni soudeleženec njenega ustvarjal-
nega procesa.
Je virtualna skupnost rešitev? Ali virtualna komunikacija povzroča osamljenost? So Indonezijci bolj
osamljeni kot Evropejci? V okviru državne raziskave med indonezijskimi mladostniki je 9,6 % študen-
tov poročalo, da so se v letu 2017 večino časa ali ves čas počutili osamljene, v državni raziskavi med
splošno odraslo populacijo v Nemčiji, prav tako leta 2017, pa se je pokazalo, da je določena oblika
osamljenosti prisotna pri 10,5 % populacije (pri 4,6 % rahla, pri 3,9 % zmerna in pri 1,7 % močna).10
V okviru razstave sta osamljenost in skupnost postali glavni izhodišči, ki smo ju želeli osvetliti s svojim
kuratorskim pristopom. Rešitev se je naravno pojavila kot posledica komunikacije, ki je v skupini po-
tekala v angleščini. Beseda »alone« (sam) izvira iz jezikovne združitve delov izraza »all one« (vse,
vsi eno).11 Tudi v slovenskem jeziku se lahko na soroden način igramo z oblikama »vse eno« in »vse-
eno«: »eno« je samostojna enota, a lahko postane del zaokrožene celote. Prav ta koncept srečamo v
vseh projektih, ki so sicer neodvisni, a postanejo del celote. Ustrezno prikaže odnos fotografa do ideje
fotografske skupnosti v Indoneziji, pa tudi do širšega koncepta skupnosti, ki jo imamo za družbeni
konstrukt ali za naravno celovitost – enost.
31
But is the virtual community a solution? Can virtual communication offset loneliness? Are Indonesians
lonelier than Europeans?
In a national sample of adolescents in Indonesia, 9.6% of students reported mostly or always feeling
lonely in 2017 while a national survey among the general adult population in Germany, also in 2017,
put to 10.5% the prevalence of some form of loneliness (4.9% slight, 3.9% moderate and 1.7% severe).10
In terms of the exhibition, loneliness and community became the two major concepts to grapple with
through the curatorial approach. The solution came as a consequence of the team’s communication
in the English language and appeared organically. The word Alone originates from the linguistic merg-
ing of All One, literally “all, wholly oneself” with “one” to mean all by oneself.11 It is exactly the concept
that intersects so many projects individually and makes them part of the whole. It adequately depicts
the relation of each photographer towards the idea of photographic community in Indonesia, as well
as towards any wider concept of community seen as a social construct or natural wholesomeness –
the Oneness. Even in the Slovenian language one could play with “vse eno” and “vseeno”, meaning
“all One” and “exchangeable”, “whichever part of the whole”.
Alone, indeed, Utami Godjali might be during her personal work. Her project is exhibited as a hand-
bound book titled Samana. She refers to the Sanskrit dictionary where the term can be defined as
“at that time or at one point.”12 She explores an existence that has already vanished as soon as it is
UTAMI GODJALI UTAMI GODJALI
 Utami Godjali je v svojem osebnem delu zares sama. Njen projekt je razstavljen kot ročno vezana
knjiga z naslovom Samana. Opira se na slovar sanskrta, kjer je izraz definiran kot »ob tistem času ali
na določeni točki«.12 Raziskuje obstoj nečesa, kar izgine takoj za tem, ko ti to uspe fotografirati. Gre
za zrnat pogled objektiva, ki je obrnjen globoko navznoter in od tam posega v tisto, kar bi lahko bilo
okolica. V njenih podobah ni meje med »sam« in »vse eno«; to je dokumentarna fotografija dnevnih
čustev, vizualni dnevnik duše. Utami ustvarja situacije in scenarije za fotografije. Pri postavljanju sli-
kovne metaforike se ravna po občutku. Prikazuje medsebojni vpliv domišljije, življenjskih izkušenj in
sanj. Podob nikoli ne lovi zunaj sebe. Namesto tega v kader vstopita njeno telo ali telo njenega modela.
Poznavalec fotografije in zen budizma John Daido Loori, avtor knjige The Zen of Creativity: Cultivating
Your Artistic Life, proces introspektivne fotografije opisuje takole: »Ko se samemu sebi naučiš brez-
pogojno zaupati, nimaš več potrebe po dokazovanju nečesa skozi umetnost. Preprosto ji dovoliš, da
pride na plan, takšna, kot je. V tem trenutku umetniško ustvarjanje postane láhko kot pero. Samodejno
je kot rast las. Raste.«13

Djoyosantyo Joachim, mladenič nevsiljivega značaja in blagega izražanja, predavatelj temničnih fo-
tografskih tehnik, je za preobrazbo osamljenosti uporabil analogno fotografijo. Pogumno se je spo-
prijel z izredno globoko stisko, ki jo sedaj z vso integriteto deli z drugimi na razstavi.

34
captured. It is a grainy lens turned towards the deep inside, and from there reaching out for what
might be perceived as environment. In her images there is no boundary between alone and all-one.
It is documentary photography of daily emotions, a visual diary of a soul. Utami creates situations
and scenarios to shoot. Her staging of imageries is guided by her instinct. It features the interplay of
imagination, life experiences and dreams. She does not go out to hunt for images. Instead, her body,
or that of her model, enters the frame. Practitioner of photography and of Zen Buddhism, John Daido
Loori, the author of the book The Zen of Creativity: Cultivating Your Artistic Life, describes the process
of introspective photography: “When you learn to trust yourself implicitly, you no longer need to prove
something through your art. You simply allow it to come out, to be as it is. This is when creating art
becomes effortless. It happens just as you grow your hair. It grows.”13
Unpretentious, soft spoken, and a mentor of darkroom techniques, Djoyosantyo Joachim used ana-
logue photography to transform loneliness. Bravely he went to engage with a very intimate issue and
with integrity, he shares it in the exhibition.
It started two years ago, when he found hundreds of his adoptive mother’s old negative films. This
incident estranged her from him. Alone, Djoyosantyo faced half-destroyed, injured images. They were
his mother’s memory. They were a space for intimate, yet indirect conversations with a small part of
her. And this was a real conversation, not just passive listening. When Djoyosantyo speaks, he does

DJOYOSANTYO JOACHIM
 Začelo se je pred dvema letoma, ko je našel na stotine starih negativov svoje krušne matere. Spoznal
je, da o njej premalo ve. V lastni samoti se je Djoyosantyo spopadel z napol uničenimi, poškodovanimi
fotografijami. Bile so spomini njegove matere, prostor za intimne, a posredne pogovore z majhnim
delom nje same. To je bil resničen pogovor, ne samo pasivno poslušanje. Ko Djoyosantyo spregovori,
to naredi skozi podobe življenja psov v zavetišču v Džakarti. S pomočjo poškodb na analognih arhiv-
skih filmih, ki jih je našel, ustvarja strašne, a ozdravljajoče dialoge s pozitivi analognih cianotipij, ki
jih je izdelal sam. Proces in fotografski objekti, ki v njem nastanejo, spominjajo na kintsugi – japonsko
umetnost popravljanja razbitega porcelana, ki lepote razpok ne skriva, temveč jo poudari z zlatom in
tako ustvari novo vrednost. Zdaj, v časih sekundnega lepila, se to zdi zastarelo, tako kot Djoyosantyova
150 let stara fotografska tehnika, ki jo v časih telefonske kamere uporablja za svoje slike. Poudarek
je na procesu posameznika, ki se loti vsakega koščka posebej; pripravi lepilo, brusi, čisti in čaka več
dni, da se vsak del združi s prejšnjim; počasi in skrbno ponavlja proces, dokler ni porcelan pripravljen
na končno plast čistega zlata v prahu. V tem procesu se spremenita oba: posoda in popravljavec. Mati
in tišina je intimen projekt samozdravljenja skozi fotografijo. Ni treba, da je takšno delo zasidrano v
katerikoli umetnostni teoriji, saj je globoko zakoreninjeno v umetnikovih notranjih procesih; tako sa-
mozadostno in neodvisno je, kot je živčni sistem človekovega črevesja neodvisen pri pogojevanju na-
šega ravnanja – čemur rečemo instinktivni odziv.

37
it through images of life in a dog shelter in Jakarta. With injuries of analogue archive films he found,
he converses in haunting yet healing tales of analogue cyanotype prints crafted by his own hand. The
process, and the photo-objects emerging from it, remind us of kintsugi. It is Japanese art of mending
broken porcelain by accenting the beauty of the breaks with gold, not hiding it, thus creating a new
value. Anachronistic in the time of quick-glue – just as the 150-year-old photographic technique
Djoyosantyo uses for his images in the time of mobile phone camera – the accent here is on the
process as one engages with each broken piece by preparing the glue, rubbing, cleaning and waiting
for days for each part to join, slowly and painstakingly repeating the process until it is ready for the
final layer of pure gold dust. All is transformed in this lonely process – the cup and the mender.
Mother and Silence is an intimate project of self-healing through photography. This work does not
need to be anchored in any art theory as it is profoundly rooted in the depths of the artist’s inner
processes, as self-sufficient and independent as the enteric nervous system is in the conditioning of
all our relations – what is colloquially called “gut reaction.”
The photographer stands alone documenting life in and around her/himself while through the process
becomes all-one with the subject, the surrounding and the wider community. It is the essence of
being an artist. “The I is transformed into an us – extraordinary leap. In this us and in each I, we dis-
cover the discovery that the artist made. When we are able to speak of us, we become the sum of all
our relations and something more, as in any synergy,” Boal writes.14

DJOYOSANTYO JOACHIM
 Pri dokumentiranju življenja okoli sebe je fotograf sam, pri procesu pa postane eno s subjektom, oko-
lico in širšo skupnostjo. To je po Boalu, brazilskem umetnostnem teoretiku, srž umetnika: »’Jaz’ je
preoblikovan v ‘mi’, kar je ogromen preskok. V tem ‘mi’ in v vsakem ‘jaz’ odkrijemo, kar je odkril umet-
nik. Ko lahko govorimo o sebi, postanemo skupek vseh svojih odnosov in še nekaj več, kot je to obi-
čajno pri sinergiji,« piše Boal.14
Če bi morali projekt Adriana Mulye Tako daleč. Tako blizu. povzeti z enim stavkom, bi rekli, da je foto-
graf stičišče – s prirojenimi navzkrižji in nasprotovanji – družine kot ožje skupnosti ter države kot
širše skupnosti. Tri različne časovne premice, tri volnene niti, pletejo usode, upodobljene skozi za-
mrznjene trenutke v družinskih arhivih. Prikazujejo zgodbo o identiteti in skupnosti znotraj države.
Preprosta birokratska uganka je Adriana popeljala v raziskovalno umetnost dokumentarne fotografije.
Arhivi družinskih albumov so se spremenili v pripovedne trenutke zgodbe, ki išče odgovor na vpra-
šanje: če me država, v kateri sem bil rojen, nima za »domačina«, kam torej spadam?
Kompleksnost indonezijske družbe, otoške države z več sto milijoni prebivalcev, se oddaljenemu slo-
venskemu ali evropskemu opazovalcu morda zdi odročna in samoumevna. V običajnem načinu opa-
zovanja – »jaz« in »oni« – je lahko pozabiti, da je ta projekt enako relevanten tako za gledalce, ki
tvorijo unijo evropskih držav, kot tudi za mešane skupne identitete.
38
If we have to give one sentence to summarize the So Far. So Close. project by Adrian Mulya, it would
be a statement that a photographer is the intersection – with its inherent contradictions and conflicts
– of the family, as an immediate community, and the state, as a wider community.
Three different timelines, three threads of wool, knit the destinies visualized through frozen moments
of family archives. They show the story of identity and community within a state. A simple bureau-
cratic conundrum triggered Adrian’s photographic documentary art exploration. Family photo album
archives turn into storytelling moments for the tale that explores the answer to the relevant question:
If the state I was born in does not perceive me as a “native,” where do I belong?
The complexity of Indonesian society, a multimillion people archipelago-state, might seem far and
taken for granted by a Slovenian or a European distant observer. In the usual way of observation
rooted in “us” and “them,” it is easy to forget that this project is just as pertinent to viewers from the
nascent union of European states and mixed collective identities.
In the not-so-distant past, on February 26, 1992, the newly independent state of Slovenia deleted the
names of some 30,000 residents from the nation’s civil registries. The targeted population, which
came to be known as izbrisani (erased residents)15 were not of Slovenian ancestry, but were so-called
‘new minorities’ including ethnic Serbs, ethnic Croats and ethnic Bosnian Muslims, ethnic Kosovo
Albanians and ethnic Roma who the government sought to force out of the country. (In contrast, ‘old
V ne zelo oddaljeni preteklosti je 26. februarja 1992 nedavno osamosvojena država Slovenija iz držav-
nega registra prebivalstva izbrisala imena približno 30.000 prebivalcev. Prizadeta populacija, ki jo
imenujemo izbrisani,15 ni bila slovenskega izvora. To so bile »nove manjšine«, ki so vključevale etnične
Srbe, etnične Hrvate, etnične bosanske muslimane, etnične kosovske Albance in etnične Rome –
vlada jih je poskusila pregnati iz države. (Za primerjavo: »stare manjšine« vključujejo etnične Italijane
in etnične Madžare, ki so posebej omenjeni v ustavi iz decembra 1991.)
Naj je oče kitajskega rodu, rojen v Indoneziji, ali srbskega rodu, rojen v Sloveniji – spor poudarja pro-
blem samosti, odrinjenosti in ločenosti od celote – kot hkrati z magnetno silo privlači svojega idejnega
dvojčka: pripadnost, vse-enost. In potem so tu še tisti, ki so »domačini« le, dokler ne »zaidejo« v iz-
ražanju svojega mnenja. Kam torej z »nami« ostalimi, ki nismo drugačnega izvora, ampak v katerem
koli trenutku družbenih ali političnih sprememb v zgodovini določenega kraja zgolj drugače razmi-
šljamo? Kako naj ta vrsta obrobnežev, izpostavljenih pojmovanjem »nepripadnosti« določenemu tre-
nutku, najde srednjo pot in obvlada lastno željo po pripadnosti svojemu rodnemu kraju?
Uradni slogan Indonezije je »Bhinneka Tunggal Ika«. Ta stari javanski izrek lahko prevedemo kot »iz
mnogih eno«. Zapisan je na indonezijskem državnem simbolu Garuda Pancasila, na zvitku v krempljih
mitološke ptice Garude. Omenjen je tudi v členu 36A indonezijske ustave iz leta 1945.
39
minorities’ include ethnic Italians and ethnic Hungarians, specifically mentioned in the December
1991 Constitution.)
Whether one’s father was of Chinese origin yet born in Indonesia, or of Serb origin born in Slovenia,
the controversy accents the very issue of being alone – the separate, the outsider – as much as it
brings home the idea of its magnetic twin, the inclusivity, the all-one.
Then, there are those who are accepted as natives until they “stray” from the expressed opinion. So
how about those of “us” everywhere who do not have different origins but just think differently at
any moment of social or political changes in the history of a place? How do these types of outsiders,
exposed to perceptions of “not belonging” to a sudden moment, mediate and manage their own inner
feeling of longing for the place of their nativity?
Bhinneka Tunggal Ika is the official national motto of Indonesia. The phrase is in Old Javanese trans-
lated as Unity in Diversity (Out of many, one), inscribed in the Indonesian national symbol, Garuda
Pancasila, written on the scroll gripped by the Garuda’s claws, and is also mentioned in article 36A
of the 1945 Constitution of Indonesia.
Need for belonging to an expanded, wider identity, to nationhood or a state, is a relatively modern
global historical concept. It feeds into the idea that we have to give up parts of our individuality (as a
personal, unique identity) in order to belong to some uniformed wider identity.
ADRIAN MULYA ADRIAN MULYA
 Potreba po pripadnosti razširjeni, širši identiteti – narodu ali državi – je historično gledano dokaj so-
doben globalni pojem. Prispeva k ideji, da se moramo odpovedati delu svoje individualnosti (kot
osebne, edinstvene identitete), da bomo lahko pripadali širši, poenoteni identiteti. Republika Indonezija
svoje sodobno rojstvo avgusta 1945 pripisuje obdobju po koncu druge svetovne vojne, protikolonia-
lističnim bojem in razglasitvi neodvisnosti. Leto 1965 označuje drugi prelomni trenutek, v katerem
so na dan privrele notranje grozote, ki so razdirale družine. Med indonezijskim ljudstvom dogodek
odmeva še danes.
Rosa Panggabean v multimedijskem projektu Vzrok/učinek raziskuje protislovja in frustracije ter iz-
polnitev, v katero so primešani nostalgija in srca tistih, ki so bili potisnjeni na obrobje družbe.
Rojena je bila po letu 1965, po ključnih dogodkih, ki še vedno zaznamujejo indonezijski narod, zato se
je odločila, da se bo poučila o preteklosti in o sebi. Začela je leta 2013 v Evropi, v Amsterdamu, ko ji je
nizozemski kulturni center Erasmus Huis podelil štipendijo. Srečala je indonezijske izgnance, ki so
hrepeneli po pripadnosti, a so želeli obdržati svojo individualnost in razlike znotraj deljene skupne
identitete. Po vrnitvi v Indonezijo je nadaljevala iskanje preživelih. Uvod v njeno zgodbo na razstavi je
velika fotografija, nasičena z rdečo, ki poglablja zastrašujočo dilemo: ali ta rdeča pripada »strahu« ko-
munizma ali njeni pripadnosti državi Indoneziji? Je del ponosne Merah Putih, rdeče-bele državne

42
The Republic of Indonesia claims its modern birth to post-WWII and anticolonial struggles, in August
1945 and its proclamation of independence. The year 1965 marks the second turning point in which
internal horrors were unleashed and families were torn apart. It reverberates to this day among the
people of Indonesia.
The contradictions and frustrations, along with fulfilment mixed with nostalgia of the minds and
hearts of those who were pushed to become outsiders, Rosa Panggabean explores and engages
within her multimedia project Cause/Effect.
Being born long after 1965, after those crucial events still forming the nationhood of Indonesia, she
set out to learn about the past and about herself. Starting in Europe, in Amsterdam, during the 2013
Erasmus Huis Fellowship by Dutch cultural centre, she met Indonesian exiles who longed to belong
yet wanted to be able to keep their individuality and differences within the shared collective identity.
Upon her return, she continued to search for survivors.
In the exhibition, a large image is saturated red – an introduction to the story. It advances a haunting
dilemma: is it the red of the red “scare” of communism or the red of belonging to the country of In-
donesia – part of the proud Merah Putih, the red-white of the national flag? As part of the exhibition
of this long-term project is the “Dialita” choir, formed by women gifted with the inherent ability to
transform pain into life and joy. They sing their longing away. Music, for those who have a sense of

ROSA PANGGABEAN
ROSA PANGGABEAN ROSA PANGGABEAN
 zastave? Med protagonisti tega dolgoročnega projekta je tudi pevski zbor Dialita, ki so ga ustanovile
ženske s prirojeno sposobnostjo preoblikovanja bolečine v življenje in veselje. S petjem izpevajo tudi
svoje hrepenenje. Glasba je pri tistih, ki slišijo, zapisana v osrednji, starodavni, čustveni limbični del
možganov; tako kot vizualna umetnost pri tistih, ki vidijo. Rosa je z uporabo multimedije za pripove-
dovanje zgodb obiskovalcu omogočila, da pri njeni izkušnji sodeluje bolj neposredno. Slušalke utišajo
zvoke okolice, ko se na videu predvaja posnetek pevske vaje v Indoneziji. Njen multimedijski projekt
ne zastavlja samo vprašanj in ne podaja zgolj opisov – pokloni se vsem, ki jim je domala po vsem svetu
uspelo preživeti, in tistim, ki so našli moč za preobrazbo in začeli na novo – tudi s pomočjo petja.
Pri večini razstavljenih projektov z raznolikimi močmi pripovedovanja zgodb se gledalec lahko postavi
v položaj fotografa, kar ga spreminja in povezuje s subjektom. Umetnik tako preobrazi vse, česar se
dotakne – subjekte z vpletenostjo v njihovo resničnost in tudi gledalca, ki ga v tem procesu preoblikuje.
Fotografu lahko gledalec hkrati daje potrditev in ga povsem zanika. Boal je to elegantno ubesedil ta-
kole: »Umetnik poseže v enkratnost bitja, kot bi iskal dopolnilo ali pa sam svojo Identiteto v Različnosti.
Posamezni išče Posameznega, Eden išče Enega v Drugem.«16 Izkušnja je ena sama in si jo delimo.
Že pri javnem razpisu smo prepoznali: obiskovalci klišeja »slika, ki je spremenila svet« tu ne bodo
našli; spoznali pa bodo mnogo fotografov, ki svet spreminjajo s svojim življenjem. Potopili se bodo v
46
hearing, is linked to the core, ancient, emotional, limbic part of the brain, as is visual art for those
who have a sense of sight. Using multimedia as a storytelling tool, Rosa enables the visitor to more
directly participate in her experience. The earphones exclude the environmental noise and introduce
sounds of practice in Indonesia. Her multimedia project does not simply question or describe, it ho-
nours survivors almost everywhere in the world as those who muster the strength to transform and
start anew – by singing.
As in many of the exhibited projects, through different powers of storytelling, the viewer steps into
the photographer-artist’s shoes, transforms and relates to the subject. The artist, therefore, trans-
forms all reached – the subjects, with the engagement, as well as the viewer – while she/he is trans-
formed in the process. The photographer becomes confirmed and annihilated at the same time. As
Boal eloquently points out: “The Artist penetrates the unicity of the being, as if searching for his or
her complement, or searching for him – or herself – for his or her Identity in Alterity. The Singular
seeks the Singular, the One seeking Oneself in the Other.”16 The experience is one and shared.
As a result of the open call, we detected a trend: visitors will not find the cliché “an image that changed
the world” but will encounter many photographers who are changing the world as they live, immerse
and engage during and beyond their photographic journeys. This principle runs very strong as a
stream in contemporary currents of Indonesian documentary photography.
fotografska potovanja in se med njimi in po njih angažirali. To načelo je močan val v sodobnih tokovih
indonezijske dokumentarne fotografije.
Yusni Aziz predstavlja sodobne, barvite, svetle slike, ki v sebi skrivajo dramo. Razstavlja tudi pred-
mete – odlomke iz dnevnikov, nekaj medicinske dokumentacije, disertacijo svoje prijateljice Banu.
Yusni skozi osebno angažiranost pri njeni usodi in procesu dokumentiranja postane poglobljen po-
dajalec znanja in aktiven udeleženec boja proti nasilju nad ženskami.
»Kar se je zgodilo Banu, doleti veliko žensk v Indoneziji. Državna komisija za nasilje nad ženskami je
leta 2018 objavila izjavo, da je spolnemu nasilju vsako leto podvrženih na tisoče žensk; leta 2017 je
bilo prijav 6.000. Česar pa mnogo ljudi prek teh številk ne vidi, je dosmrtni vpliv spolnega nasilja na
preživele,« je v besedilu, ki je spremljalo njegovo prijavo, zapisal Yusni.
To je indonezijska težava. To je evropska težava. To je slovenska težava – prav toliko, kot je globalna.
Največja težava pa je ogromno število nenasilnih moških, ki molčijo, so brezbrižni ali pa pogledajo
stran. Romanopiska Margaret Atwood je opisala, kako je prijatelja vprašala, zakaj imajo moški obču-
tek, da jih ženske ogrožajo. Njegov odgovor se je glasil: »Bojijo se, da se jim bodo ženske smejale.«
Ko je isto vprašala skupino žensk, so odgovorile: »Bojimo se, da nas bodo ubili.«17
47
Yusni Aziz exhibits modern, colourful, bright images that hide a drama. He also exhibits objects –
diary excerpts, some medical documentation, a thesis – belonging to his friend Banu. Through per-
sonal engagement with her destiny, and the process of documenting it, Yusni becomes the immersed
educator and active agent to oppose violence against women.
“What had happened to Banu also affected a lot of women in Indonesia. The National Commission on
Violence Against Women published a statement in 2018 that each year thousands of Indonesian
women were subjected to sexual violence, with more than 6,000 cases reported in 2017. However,
what many people do not see beyond those numbers is the lifetime impact of sexual violence on the
survivors,” wrote Yusni in the text accompanying his application.
It is an Indonesian problem. It is a European problem. It is a Slovenian problem as much as it is a
global problem. However, most of all it is a problem of the great number of non-violent men who
are silent, dismissive and turn a blind eye. Novelist Margaret Atwood wrote that when she asked a
male friend why men feel threatened by women, he answered: “They are afraid women will laugh
at them.” When she asked a group of women why they feel threatened by men, they said: “We’re
afraid of being killed.”17
According to a 2019 European commission fact sheet, one of three women in EU experienced some
form of physical or sexual violence.18 In Indonesia a 2017 nationwide survey revealed 33.4% of women
YUSNI AZIZ YUSNI AZIZ
 V informativnem pregledu Evropske komisije iz leta 2019 je navedeno, da je določeno obliko fizičnega
ali spolnega nasilja v Evropski uniji izkusila vsaka tretja ženska.18 Indonezija je leta 2017 na državni
ravni izvedla raziskavo, ki je razkrila, da je v svojem življenju nasilje izkusilo 33 odstotkov žensk, naj-
večkrat s strani svojega partnerja in najbližjih.19
Banu in Yusni oba bijeta bitko, skupaj in vsak zase, z negotovo prihodnostjo, ki izhaja iz nasilne pre-
teklosti; po drugi strani je Aprillio Abdullah Akbar v svojem projektu z naslovom Trdožive dokumen-
tiral in s tem povzdignil sposobnost preobrazbe bolečine v moč.
Protagonistke njegove pripovedi so Indonezijke, ki so preživele družinsko nasilje, premagale samoto
in pri oblikovanju skupnosti dobile moč, ki jo daje »vse eno«. Ustanovile so skupine za podporo ter
izobraževalni pobudi Sekolah Perempuan (Šola za ženske) in Ciliwung Rawajati v Južni Džakarti. Sku-
paj se učijo, o pravicah izobražujejo druge, skrbijo za preživele in jim pomagajo ponovno doživeti ob-
čutek, da smo vsi – eno. Zunanjim opazovalcem se fotografije morda zdijo preproste – zrnate,
črno-bele podobe, ki izražajo idejo dobrega in zla – a njihova kompleksnost se skriva v podrobnostih.
Ženske, ki jim je uspelo nasilno energijo preobraziti, so se morale prebiti skozi vse odtenke sive, da
so postale bele cvetlice ali bele golobice, da so ponovno razširile krila in poletele iz črnine – kar so
simbolične podrobnosti Aprillievih motivov. Metafore vizualnih podrobnosti so natančno ti poudarki,

51
in the country have experienced violence in their lives, inflicted mostly by their spouses and those
who are closest to them.19
While Banu and Yusni are both struggling, together and each on their own, with an uncertainty of the
future that grows out of a violent past, Aprillio Abdullah Akbar documented and celebrated the
ability to transform hurt into strength in his project Resilient.
The protagonists of his tale are women who survived family violence in Indonesia, overcame the state
of being alone, to arrive to the power of all-one through forming a community. They started a support
group and education initiative Sekolah Perempuan (Women’s School) in Ciliwung Rawajati of South
Jakarta. They learn together, teach others about their rights and take care of survivors helping them
to feel again all-one.
For an outsider, the photographs might seem to be simple, grainy, black and white images reflecting
the idea of good and evil, but the complexity is in the details. The women who managed to transform
those violent energies had to pass through all shades of grey before each became one of the white
flowers, or white doves spreading her wings again to fly out from the blackness, symbolic details on
Aprillio’s images. Metaphors of visual details are exactly those accents that celebrate the transfor-
mative potential of the individual and the community. It is a context of positive energy that so many
women like Banu, in Slovenia, Europe and the world need.

APRILLIO ABDULLAH AKBAR

APRILLIO ABDULLAH AKBAR APRILLIO ABDULLAH AKBAR
 ki slavijo preobrazbeni potencial posameznika in skupnosti. To je kontekst pozitivne spodbude, ki jo
potrebuje toliko žensk, kot je Banu – v Sloveniji, Evropi in po svetu.
Zanimanje za osebo in osebno ima v indonezijski fotografski tradiciji globoke korenine. Portret je ena
najbolj razširjenih vrst fotografije in je del dediščine, tradicija, znana vsem avtorjem. »Izraz tukang
potret (mojster portretist) v indonezijski fotografiji nosi veliko težo,« v fotografski raziskavi zapiše
Wubin, in tako je že od njegovega nastanka v 20. letih prejšnjega stoletja.20 Prinaša dostojanstvo, a
hkrati subjektu in mojstrom portretistom nalaga veliko odgovornost.
Muhammad Fadli, foto urednik pri reviji Forbes Asia, v svoje sodobno dokumentarno delo vključuje to
ljudsko tradicijo in se igra domiselno fotografsko igro. Pri dokumentiranju obrobne skupnosti resnične
»postpostmodernistične« indonezijske mladine (oni sami se seveda ne bi označili tako, tudi če bi poznali
pomen tega izraza) je odkril bogastvo evropskih in globalnih simbolov ter konceptov, ki so jih vzeli za
svoje in jih popolnoma preobrazili. Naslov projekta, ki bi poudaril evropske, natančneje, italijanske tehno-
kulturne zametke te skupnosti, bi se lahko glasil »Najdi vespo.« Pravi naslov, Uporni jezdeci, pa veliko
bolje odraža mesto, ki ga ima to gibanje – zlahka bi ga tako poimenovali – v indonezijski družbi. Konceptu
zgodbe o vozilih, narejenih iz plastičnih smeti, bi ustrezal tudi naslov »Okoljevarstvena parodija« – po
eni strani mladi reciklirajo, po drugi pa porabljajo veliko goriva, da ta vozila spravijo v tek. Fadlijev

55
Interest in the person and personal runs deep in Indonesian photographic tradition. Portrait is one of
the most widespread types of photography practiced as part of a heritage, a tradition that all of the
authors know. “The term tukang potret (portrait craftsman), weighs heavily on the Indonesian pho-
tography” since its beginnings in the 1920s, writes Wubin in his photographic survey.20 It brings dignity
but also huge responsibility to the subject as much as to the portrait craftsman and woman.
Incorporating this vernacular tradition in his contemporary documentary work, Muhammad Fadli,
photo editor at Forbes Asia, plays a witty photographic game. Documenting a fringe community of
truly post-post-modernist Indonesian youth (of course they are not labelling themselves this way
even if they would be aware of the meaning), Fadli discovered a wealth of European and global sym-
bols and concepts appropriated and turned into something absolutely local and new.
“Spot the Vespa” could be the title if one wants to accent the European, or more specifically Italian,
techno-cultural embryo of this community. The real title of the project is Rebel Riders that much more
reflects the place that this – one could easily call – movement, enjoys in Indonesian society.
“Environmental spoof” could also fit the concept for the story of bikes made of plastic garbage – re-
cycling on one side while burning loads of petrol at the same time. Fadli’s project could fit the study
of dystopian post-cataclysm motifs for a Mad Max Indonesia production just as much as it mocks the
cultural influence of the ‘69 cult movie Easy Rider. After all, Fadli’s protagonists are not fictional and
their creations could be considered as the custom-made poor-men’s-Harleys.

APRILLIO ABDULLAH AKBAR

MUHAMMAD FADLI MUHAMMAD FADLI
 projekt bi ustrezal študiji distopičnih postkataklističnih motivov za indonezijsko produkcijo Pobesnelega
Maxa, obenem pa ironizira kulturni vpliv kultnega filma Goli v sedlu iz leta 1969. Navsezadnje Fadlijevi
protagonisti niso izmišljeni, njihove stvaritve pa bi lahko poimenovali »po meri narejeni harleyji za re-
veže«. Fadli sodobni kulturni sinkretizem kritično opazuje in ga hkrati veselo plemeniti – zapleti, kul-
turni humor in predrznost, namerna ali nenamerna, so ustvarjalni duh, so domiselnost in strast
indonezijskih ulic. Njegovi jezdeci so v kategoriji Portret v zgodbi na natečaju Istanbul Photo Awards
2018 dobili tretjo nagrado. Njegova nedavno objavljena knjiga, ki je prav tako razstavljena, pa je bila
leta 2019 izbrana na natečaju Photo Book Exhibition & Award avstrijskega festivala Photo Wien.
Sinkretizem izvira iz prirojene naklonjenosti otoških prebivalcev posmrtnemu. Skrivnostne pretekle
in sedanje prakse na več ravneh še vedno močno vplivajo na družbo. Čeprav se Niels Mulder v svoji
knjigi Mysticism in Java osredotoča na javansko duhovnost, njegovi zapisi veljajo za večino indonezijskih
ljudstev in skupin: »Mnoge najbolj privlačijo kebatinan, notranje dimenzije življenja – nanje pogosto
gledajo kot na srž svoje kulture. Stvari niso, kot se zdijo, temveč imajo skrito bistvo, ki jih navdušuje.«21
Od zunaj se družina pogosto zdi preprosta. Vsakdanja. Nič posebnega. Rangga Yudhistira kaže sedem
družinskih portretov, natanko takšnih, kakršni so ali pa bi lahko bili družinski portreti na osrednji
Javi, najbolj naseljenem otoku v Indoneziji. Fotograf jih ne poskuša popestriti.

58
That modern day cultural syncretism Fadli both critically observes and happily dignifies; its twists,
cultural humour and cheekiness, intended or unintended, is the creative spirit, ingenuity and passion
of the Indonesian streets.
Fadli’s riders have won 3rd prize in the story portrait section of Istanbul Photo Award in 2018 and a
recently published book, also here on exhibit, was selected for the Photo Book Exhibition & Award at
Photo Wien in Austria in 2019.
Syncretism stems from a natural inclination towards the otherworldly for the inhabitants of the ar-
chipelago. Mystical practices of the past and present still strongly influence society at many levels.
Even though Niels Mulder focused on Javanese spirituality in his book Mysticism in Java, what he
writes is applicable to most peoples and groups of Indonesia: “To many of them, kebatinan, or the
inner dimensions of life, are the most attractive: often they see these as the very heart of their culture.
Things are not what they appear to be but have the hidden core that fascinates them.”21
A family from the outside, at first glance, often looks very simple. Plain. Nothing special. The seven
family portraits by Rangga Yudhistira are exactly what many family portraits in Central Java, the
most inhabited island of Indonesia were, are and could be. No attempts on behalf of the photographer
to “spice them up.”

RANGGA YUDHISTIRA
 Subjekt indonezijskega mojstra portretista preteklosti ali sedanjosti – na fotografijah, ki jih
dandanes pojmujemo kot vernakularne – najpogosteje gleda naravnost v kamero. John Berger
je to izpostavil v pogovorih s Sebastiãom Salgadom: »Vedo, da gledajo na svet, zato postavljajo
vprašanje: ‘Kaj si ti, ti tam v širnem svetu?’ ali pa: ‘Je tam zunaj še kaj drugega?’«22 Gledalcu
se v tistem trenutku povezanosti razodene magija. Spozna, da lahko resnico pove le z osebno
izkušnjo.

Da, v vzporednih svetovih 21. stoletja na Javi najdemo Džakarto, urbano središče in velemesto, vir-
tualni svet družbenih omrežij in satelitov z omrežjem 5G ter uročeno Vas sedmih, vse znotraj ene
same države. Fotograf skače od enega do drugega, kot risani liki skačejo z enega na drug drveči vlak.
Vsaka podoba je urok, vsak urok je družina. Sedem urokov in sedem družin predstavlja vas in foto-
grafa. Nič ni vsakdanje in nič ni preprosto.

Aji Susanto Anom svojo strast do fotografije opiše s preprostimi besedami: »Fotografija je vsakdanji
strup, ki me preganja že vse življenje.« Do sedaj se je v dokumentarnih projektih posvečal predvsem
manj oprijemljivim vidikom indonezijske kulture. S projektom Reka v Hadu se je uvrstil v končni izbor
natečaja Emerging Photographer Fund 2016 revije Burn.«23

61
For an Indonesian tukang potret of the past or present – as it is an overwhelming expression of today’s
vernacular – more often than not, the subjects look directly at the camera. As John Berger aptly ob-
serves in his conversations with Sebastião Salgado: “They know that they are looking at the world.
And so they address a question: ‘What are you, you out there in the world?’ or: ‘Is there anything else
out there?’”22 For the viewer, at this moment of connection, the magic starts. The viewer is left to re-
alize: only by personal experience, one can tell the truth.
Yes, in the parallel worlds of the 21st century there is an urban hub of a megapolis like Jakarta, a vir-
tual world of social networks, satellites with 5G, and a spellbound Village of Seven within one national
border. A photographer jumps from one to another like a cartoon character jumps passing trains
headed in different directions. Each of Rangga’s images is a spell and each spell is a family. Seven
spells in seven frames represent a village and a photographer. Nothing is plain and nothing is simple.
Aji Susanto Anom describes his passion for photography in simple terms: “Photography is a mun-
dane poison that has haunted my life.” So far, through documentary projects, he mostly engages with
the intangible side of Indonesia and its culture. His project, River of Hades, was one of the finalists in
the “Burn Magazine Emerging Photographer Fund 2016.”23
Of course, mystical experiences are highly individual, but because they are transcendental at the
same time, they are strongly collective. They bind together into another dimension. The project at

RANGGA YUDHISTIRA
 Mistične izkušnje so kajpada zelo individualne, toda ker so obenem transcendentalne, se prepletejo
in povežejo v novo dimenzijo. Projekt Plesalec lengger lananga raziskuje globine tradicije, skupno no-
tranjo dušo, ki se odraža v ritualih ali ljudskih šegah. Aji pravi, da je njegov projekt zgodba »o telesih
znotraj teles (npr. ženski v telesu moškega)«.

Ajijeve osupljive črno-bele slike si lahko ogledamo na projekciji. Tako smo se odločili zaradi perfor-
mativne vsebine kot tudi performativne tradicije, ki ostaja v ospredju mnogih raznovrstnih običajev
in navad na otočju. V Sloveniji na take vseprisotne transformativne rituale spominja morda kurento-
vanje, ki v pustnem času poteka na Ptuju, v najstarejšem slovenskem mestu – ali podobni običaji v
drugih slovenskih regijah. Ajijev projekt je razstavljen v rotundi Galerije Jakopič, ki po obliki spominja
na amfiteater. V osrčju ljubljanskega centra sodobne fotografske umetnosti se popularna javanska
mistična tradicija tako simbolično križa z lokalno dediščino gledalca, duhom rimske bazilike in ar-
heološkimi ostanki zgodnjekrščanske rotunde. Najbolj znan kliše o Indoneziji je, da je država največji
islamski narod na svetu. Na neki način gre za statistični inženiring. Vsak prebivalec se mora na oseb-
nem dokumentu versko opredeliti, toda vlada priznava le šest uradnih religij: islam, protestantizem,
rimskokatoliško vero, hinduizem, budizem in konfucianizem. V resnici pa na otočju najdemo več kot
250 duhovnih svetovnih nazorov.

62
the exhibition, The Lengger Lanang Dancer, explores the depths of tradition, the collective inner soul,
expressed through rituals or folk customs. He describes his project as the story “about bodies inside
bodies (e.g. female inside man).”
Aji’s startling black and white images are presented as a slide show. The decision relied upon the
performative content as much as the performative traditions in general that still occupy the centre-
piece position in many diverse traditions across the archipelago. In Slovenia, the faint reminder of
once omnipresent transformative rituals exists as kurentovanje, carnival-like mask rituals, held in
the week around Shrove Tuesday in the country’s oldest town of Ptuj, or similar traditions in other
Slovenian regions. Aji’s project is presented in an amphitheatre-shaped space of the rotunda within
Jakopič Gallery. In that space one of the Javanese popular mystical traditions symbolically intersects
with the viewer’s local heritage, the spirit of the Roman basilica and the archaeological remains of
an early Christian rotunda, at the heart of Ljubljana’s centre of modern photographic art.
One of the most quoted clichés about Indonesia is: the most populous Islamic nation in the world. In
some way, it is a bit of statistical engineering. Every person in her/his ID document has to declare a
religion, but the government recognises only six official religions: Islam, Protestantism, Roman
Catholicism, Hinduism, Buddhism and Confucianism. In reality there are more than 250 other spiritual
worldviews spread all over the archipelago.

AJI SUSANTO ANOM

AJI SUSANTO ANOM AJI SUSANTO ANOM
 Razlike se pojavljajo tudi znotraj šestih uradno priznanih religij. Različne ločine so celo v sporu. Vse
to ustvarja zapleteno mrežo indonezijske družbe, skozi katero se spretno in radovedno prebijajo
mnogi fotografi.

Edy Susanto, Sapta Hudaya in Eka Nickmatulhuda vsak na svoj način raziskujejo islam v In-
doneziji.

Citat ahmadista Jasmana iz vasi Grepek, ki pravi: »Imajo nas za heretike, a nam krivoverstva ne
morejo dokazati, saj si delimo isto sveto knjigo, način molitve in šahado (molitev, eden od petih
stebrov islama)«, je Edy Susanto vključil v pripis k nelagodni podobi Korana v ruševinah hiše.

V tej podobi, ki je del Edyjevega projekta, sledi usodi članov skupnosti Ahmadija v vasici iz
okrožja Lombok. Nekdaj pomembna in vplivna skupnost indonezijske islamske duhovne pokra-
jine se v sodobnem času sooča z naraščajočo nestrpnostjo drugih verskih ustanov ali celo s fi-
zičnim nasiljem muslimanskih skrajnežev. Združenje The Association of Religion Data Archives
ocenjuje, da je v državi po 542 vejah razpršenih okrog 400.000 ahmadijskih muslimanov.24 Črno-
bele slike tega projekta uokvirjajo žalost, skrb, osamljenost in ogorčenje; celo, ko gre za prizore
otroške igre.

66
Even within each of the six major and officially recognized religions, there are diverse branches –
some hostile towards each other. This knits a complex web of Indonesian society that many photog-
raphers navigate with skill and curiosity.
Edy Susanto, Sapta Hudaya and Eka Nickmatulhuda, each in their own way, explore Islam in In-
donesia.
“We are considered to be heretical, yet they cannot show us our heresy as we all share the same
holy book, also the same way of prayers and syahadat (a confirmation of Islamic faith),” said Jasman,
an Ahmadi follower in Grepek Village, quoted by Edy Susanto in the caption for the disturbing image
of the holy book, the Kur’an, in a house in ruins.
This image, a part of Edy’s project, follows the destiny of members of the Ahmadi community in a
small village of Lombok Regency. Once an important and influential community of the Indonesian
spiritual Islamic landscape, in modern times it has faced increasing intolerance from other religious
establishments and physical hostilities from radical Muslim groups. The Association of Religion Data
Archives estimates that about 400,000 Ahmadi Muslims are spread over 542 branches across the
country.24 All of the black and white images in the project emanate sadness, worry, loneliness and
indignation as a passe-partout framing even the children’s playtime.

EDY SUSANTO
 Osrednja fotografija serije, ki jo je posnel Sapta Hudaya, deluje skoraj kot protiutež žalostnim in manj
prijetnim Edyjevim podobam – prikazuje metulja, ki je za bežen trenutek pristal na snežno beli rjuhi,
viseči s stropa derviševe sobe za molitev v duhovnem zatočišču. »Verjamemo, da metulj uteleša an-
gela,« je pri opisu trenutka med svojim večdnevnim umikom, ki ga je ujel na tej intuitivni fotografiji,
Sapta zaupal kuratorjem.

Črno-bela podoba ima pridih sanjskosti, občutek rahle napetosti, ki je bistvo vsega gibanja – kot ener-
gija ničelne točke. Vemo, da je metulj, krhek in plah, tam le za trenutek. Vse to je ujeto v eni sami
sličici, ki odraža Enost.

Ne preseneča nas dejstvo, da so podobe Enosti k nam prišle skozi Saptov objektiv, saj je prav toliko
murid, iskalec duhovnosti, kot je fotograf, iskalec luči. Njegov islam je ponižnost metulja, ki bo zdaj zdaj
odletel stran, a bo vendar za vedno ostal prisoten na tej rjuhi, v tisti sobi, na sliki na galerijski steni.

Saptove umetnine, dve digitalni in dve analogni fotografiji, ujamejo bistvo naukov Johna Daidoja Loorija,
budističnega meniha in ameriškega fotografa. Augusto Boal bi v Sapti in njegovem grajenju skupnosti
skozi fotografijo našel svojega intuitivnega praktika. Saptova javna temnica – fotolaboratorij počasi pre-
rašča v stičišče mladih, ki si izmenjujejo zgodbe, se učijo analogne tehnike in počasi oblikujejo skupnost.

69
Almost as a counterbalance to Edy’s sad and uncomfortable images, the central photograph by Sapta
Hudaya shows a butterfly that has for a brief moment landed on a whiter than white sheet hanging
from the ceiling in a dervish’s contemplation room during a spiritual retreat. “We believe that a but-
terfly represents an angel,” Sapta told the curatorial team describing the moment of intuitive pho-
tography during his retreat of several days.
The black and white image has a sense of dreaminess, a sense of slight tension that is at the essence
of all of the movements – like the zero field energy. We know that the butterfly is there, fragile and
trepid, only for a blink of an eye. It is all in a frame, it conveys Oneness.
And it is not surprising that those images of Oneness come out of Sapta through his camera to all of
us, as he is a spiritual seeker, a murid, as much as he is a seeker of light, a photographer. His Islam
is the humbleness of the butterfly that is just about to fly away yet forever present on that sheet, in
that room, on the image on the gallery wall.
Sapta’s two digital images and two analogue hand printed craftworks capture the essence of the teach-
ings of Buddhist monk and American photographer, John Daido Loori. In Sapta’s active engagement in
community building through photography, a Brazilian theoretician of art, Augusto Boal, finds his intuitive
practitioner. Sapta opened a public darkroom, a photo lab, which slowly grows as a meeting point for
young people to exchange stories, learn about analogue photography and slowly shape a community.

EDY SUSANTO
SAPTA HUDAYA SAPTA HUDAYA
 Pogovor o ženskah in islamu je še en kliše evropske razprave o Indoneziji in ustvarjanja drugačnosti.
Temu navkljub se na steni galerije, med vsemi črno-belimi slikami raznolikih islamskih izkušenj, na
površje dviga barvita morska deklica; muslimanska morska deklica. Ta je za Indonezijo enako rele-
vantna kot za Evropo. Nedavno sta se na Danskem združili mošeja Mariam in bližnja izobraževalna
ustanova; sedaj si prizadevata za opolnomočenje muslimanskih žensk in jim pomagata na poti do
imamata (imam – voditelj, ki kaže pot).
Zgodba Eke Nickmatulhuda govori o muslimanskem internatu za ženske, ki ga je v mestu Padang
Pandžang v Zahodni Sumatri ustanovila 23-letna Rahmah El Yunusiyah. Eka od tam prinaša znane
prizore »dekliškega« nereda v spalnicah in predrznosti v razredu – enake kot v večini evropskih de-
kliških internatov. Vseeno pa sta v njih prisotna občutek premisleka in ponekod nekoliko žalostna
zrelost. Ekin pesniški vizualni jezik se nas, gledalcev, dotakne na drugačen način kot tisti, ki ga vidimo
v osrednjih evropskih medijih.
Eka je sama vodja in je na svoj način enako polna moči. Kariero je začela kot fotoreporterka pri eni
najvplivnejših indonezijskih revij Tempo, nato pa se je opogumila, »skočila v vodo« in postala samo-
zaposlena fotografinja in kuratorka. Ostro si je začrtala pot lastne integritete, kakršna je verjetno la-
stna večini samozaposlenih fotoreporterjev, za žensko pa je lahko še posebej strma.

72
Talk of women and Islam has been one more cliché of the European discourse on Indonesia and the
creation of otherness. Yet, on the wall of the gallery, among those black and white images of diverse
Islamic experiences, a colourful mermaid surfaces; a Muslim mermaid. The image is pertinent to In-
donesia as much as to Europe. Here, recently, in Denmark, the Mariam Mosque and an adjacent ed-
ucational institution stand proud in empowering Muslim women to become imamas (imam = leader,
who leads the way). The story by Eka Nickmatulhuda talks of a Muslim boarding school for women
that was established by 23-year-old Rahmah El Yunusiyyah and located in Padang Panjang, West
Sumatra. There Eka introduces us to the familiar scenes of a “girly” mess in the dormitory and the
cheekiness in the classroom akin to most European girls-only boarding schools. Yet there is also a
sense of contemplation and a slightly sad maturity in other images. Eka’s poetic visual language
speaks to us, the viewers, of a different tale than what we see in the mainstream European press.
Eka is a leader and just as powerful in her own way. Her career started as a photojournalist in one
of the most influential Indonesian magazines, Tempo, before diving into the deep, and becoming a
freelance photographer and curator. It is a solitary path of integrity, as most freelance photojournalists
might testify, but even more so for a woman.

EKA NICKMATULHUDA
 Okky Ardya, novinarka, ki se je podala v fotoreporterske vode, je zadnja leta preživela v vlogi sprem-
ljevalke migrantk – delavk brez dokumentov. Ko dom ni več dom je srce parajoč projekt, poln solz,
razblinjenih sanj, osamljenosti in hrepenenja po osnovnem človeškem dostojanstvu. Spremlja ženske,
ki zapustijo dom v indonezijskih vaseh, ki jih ogrožajo dviganje morske gladine in suše; te plodna tla
spremenijo v izsušena polja. Vse, kar ostane, je revščina. Ženske, ki dom zapustijo v iskanju priložnosti
v Maleziji, se znajdejo v družbeni, pravni in denarni negotovosti. Okkyjine slike pripovedujejo zgodbe
žensk, zlorabljenih s strani policije ali delodajalcev, ki so jim poleg vsega odvzeli še potne liste. Pri-
povedujejo o čakajočih otrocih in ženskah, ki se domov vrnejo v krsti – kot žrtve trgovine z ljudmi.
A vendar je Okky z vsemi, ki še naprej živijo v tej družbeni brezizhodnosti, v rednih stikih. Karte v
obliki mobilnih telefonov s sporočili, ki si jih izmenjujejo, so del razstave, del izkušnje, ki jo ponuja
gledalcu. Virtualnost tako dobi oprijemljivejšo obliko, prav tako kot s komunikacijo med vpletenimi
vztraja upanje.
Komunikacija je ključna. Obiskovalci se bodo lahko osebno vključili v razstavo, saj so motivi zgodbe
natisnjeni na razglednice. Kdor bo napisal sporočilo, ga bo lahko izročil galerijskemu osebju, foto-
grafinja pa ga bo osebno predala naslovnicam. Gre za posredovanje kančka dostojanstva in priznanja
ženskam, ki jih družba tako dolgo potiska na rob. Navsezadnje Slovencem – in Evropejcem nasploh

75
Okky Ardya, copywriter and journalist-turned-photographer, spent the last few years accompanying
undocumented migrant women workers. When Home is No Longer Home is a heart-breaking project
filled with tears, shattered dreams, loneliness and longing for basic dignity. It follows women who
leave their homes in villages of Indonesia pressed by rising sea levels and droughts that turn fertile
lands into arid fields yielding sole poverty. Women who leave in search of opportunity towards
Malaysia venture into social, legal and economical liminality. Okky’s images tell visual tales of women
who were abused by police or by employers who also took away their passports. They tell tales of
children waiting and bodies of women returning in coffins – victims of human trafficking.
Yet, with those who still live in this space of social liminality, Okky keeps regular contact. Those mes-
sages are part of the exhibit, part of the experience offered to the viewer, materialized in the form of
cards and through the shape of mobile phones. A blink of virtuality is given a more solid form, just
as hope of communication is persistent for all involved.
Communication is the key. Visitors to the exhibition will be able to engage personally, as motifs of the
story are printed as postcards. Those who write a message can hand it to the gallery personnel for
Okky to deliver in person, a small amount of dignity and recognition to women who society has mar-
ginalized for so long. After all, Slovenians and Europeans are no strangers to migrants and their needs.
After historic migrations out of Europe due to economic hardship, wars or disease (Peronospora,

EKA NICKMATULHUDA
OKKY ARDYA OKKY ARDYA
 – migranti in njihove potrebe niso tuji. Razlogi za zgodovinske emigracije iz Evrope v prejšnjih stoletjih
so bile gospodarske težave, vojne ali bolezni (npr. peronospora, obe svetovni vojni, španska gripa
itd.), zdaj pa znotraj Evropske unije opažamo delovne migracije, v katerih Slovenija in druge države
na območju nekdanje Jugoslavije izgubljajo mlade, inteligentne in sposobne ljudi, saj se ti selijo v
države z zgodovinsko boljšim ekonomskim statusom. Tu pa je še »balkanska pot«, pot beguncev iz
zahodne ali srednje Azije in severne, zahodne ali srednje Afrike. Slovenija je nedavno vzdolž meje s
Hrvaško, članico EU, ne pa tudi schengenskega sporazuma, postavila bodečo žico; ta je še povečala
zlorabo migrantov brez dokumentov, prispeva k zaslužku trgovcev z ljudmi in še povečuje obup po-
moči potrebnih ljudi. Leta 2015 in 2016 je »balkansko pot« v upanju na nov začetek in novo življenje
prepotovalo približno 700.000 ljudi. Eksodus se leta 2020 nadaljuje. Skoraj 42 odstotkov teh beguncev
in migrantov je žensk (17 %) in otrok (25 %).25

Romi Perbawa, ki prav tako spremlja migrante, svojo pozornost namenja pomanjkanju tehnologije,
a izobilju človeškosti in občutka skupnosti. Predan je dolgoročnim dokumentarnim projektom, v ka-
terih v ospredje postavlja tematiko, ki ga najgloblje skrbi: otroke. Razstavljeni projekt je del daljše,
kompleksnejše zgodbe o indonezijskih delavcih migrantih in učinku, ki ga odhod od doma pusti na
otrocih. To delo ga je navdahnilo, da je pridobil pravno izobrazbo in postal odvetniški pripravnik. S

78
WWI and WWII, Spanish flu etc.) now there are labour migrations within the European Union in which
Slovenia, as well as other countries in the region of former Yugoslavia, are losing the young, bright
and capable to traditionally more economically strong states within the union. There is also the “Balkan
route” for the refugees from west or central Asia and north, west or central Africa. Recently Slovenia
caged itself with razor wires along its borders while Croatia, an EU member but not of Schengen agree-
ment, has increased abuse of undocumented migrants aiding to the profits of illegal traffickers and
the desperation of people in need. In 2015 and 2016 about 700,000 people crossed through the “Balkan
route,” and the exodus continues in 2020, on the way to a new start and new lives. Up to 42% of
refugees and migrants passing the Balkans were women (17%) and children (25%).25
Also accompanying migrants, Romi Perbawa focuses on the lack of technology yet abundance of
humanity and community. He is dedicated to long-term documentary projects focusing on the issue
that deeply concerns him: children. The exhibited project is part of a longer and more complex story
about Indonesian migrant workers and effects on the children left behind. His personal engagement
inspired him to get training in legal counselling, as a paralegal, to acquire sufficient knowledge about
laws so as to assist Indonesian migrant workers, their children and families.
The project is done in the best traditions of classic reportage, black and white, photography. The con-
tent examines a self-organized community of migrant workers who facilitate education for their

ROMI PERBAWA
 tem je dobil dovolj znanja, da lahko indonezijskim delavcem migrantom, njihovim otrokom in druži-
nam pomaga v pravnih zadevah. Projekt je predstavljen v slogu klasične fotoreportaže – v črno-belih
fotografijah. Vsebina preučuje samoorganizirano skupnost delavcev migrantov, ki kljub preprekam
in pomanjkanju virov otrokom pomagajo pri učenju. Odsotnost konstruktivnega in pozitivnega pristopa
pri poročanju močno občutimo v osrednjih medijih, ki po zapisih antropologa Arjuna Appaduraija v
eseju z naslovom Aspirational Maps iz leta 2016 na migrante gledajo kot na skladišča preteklosti, in
ne kot na potenciale prihodnosti.26 Ta vrsta razširjenega javnega stališča migrante zadržuje v okovih
travm, ki so jim poskusili uiti, v najboljšem primeru pa skozi dobronamerno, toda pokroviteljsko do-
brodelnost »bolj blagoslovljenih« namesto dvostranskega procesa integracije spodbuja predsodke.

Muni Moon je delala kot fotoreporterka pri različnih dnevnih časopisih. Večina v njenem poklicu bo
potrdila, da to zajema vse drobnarije dokumentarne fotografije. Človek opravlja naloge, ki so mu jih
naložili, in si nabira delovno dobo do upokojitve. Slike morajo zadostiti privlačnemu, ponazorilnemu
osnovnemu vizualnemu jeziku, da opravijo svojo nalogo – zgrabiti pozornost bralca, da lahko vsrkava
vse hitrejši tok dnevnih novic. Potem pa pride dan, ko za intuitivno angažirano fotografinjo, kot je
Muni, ena teh nalog postane sprožilec. Pri delu je naletela na žensko iz revne ribiške skupnosti. Ko je
videla, v kakšnih okoliščinah tu živijo, ni mogla več ostati opazovalka. V prostem času se je skupaj s

81
children despite the obstacles and lack of resources. This constructive and positive approach is symp-
tomatically missing from the mainstream press, which, as anthropologist Arjun Appadurai writes in
his 2016 essay Aspirational Maps, looks at migrants as repositories of the past instead of potentials
of the future.26 That type of widespread attitude keeps migrants forever chained to traumas they tried
to escape, while, in the best of cases, fosters prejudices expressed through patronizing charity of the
more fortunate and well-intended, instead of integration as a two-way process.
Muni Moon is a former photojournalist for a daily newspaper. As most in the profession can confirm,
it means doing the nuts and bolts of documentary photography. One follows the assignment given
and earns retirement. Images need to satisfy a basic attractive and illustrational visual language in
order to fulfil their function of grabbing the reader to consume the ever-faster evolving daily news.
Then, one day, one of those assignments became a trigger for the intuitively engaged photographer
Muni obviously is. In the course of her work, she encountered women from a poor fishing community.
Realizing their condition, she could not remain detached. In her spare time, she picked up her young
child and went to stay with the community for three months. She started to teach women about
public health, reproductive and women health, and childcare. She taught them to knit and crochet.
Pictures did not matter anymore. Her actions in impacting the lives of so many, did. As such, the best
images Muni did in the community she engaged with, you will never be able to see. Those great im-
ages are only imprinted in the core of that community and will remain there forever.

ROMI PERBAWA
MUNI MOON MUNI MOON
 svojim otrokom za tri mesece preselila v skupnost. Ženske je pričela učiti o javnem, reproduktivnem
in ženskem zdravju ter o skrbi za otroke. Naučila jih je plesti in kvačkati. Fotografije niso bile več po-
membne; bistvena so postala njena dejanja, ki so vplivala na druge. Najboljših podob, ki so nastale
pri njenem delu, ne bomo nikdar videli, saj so vtisnjene le v osrčje skupnosti, kjer bodo tudi ostale.
Zgolj opazovanje skupnosti ali pa vključitev vanjo, medtem ko jo dokumentiramo, dajeta zelo različne
vpoglede. Turisti, ki pridejo v Papuo, na najvzhodnejši rob indonezijskega otočja, kjer se večinoma
potapljajo ali pa hodijo v gore, spoznajo samo površinsko plast, ki jo lahko dosežejo – lepo, a nepo-
vezano z indonezijsko resničnostjo. Lokalni fotografi, ki se ne morejo izogniti zavzetosti, da bi doživeli
resničnost, pa imajo možnost raziskati globlje plasti in kompleksne težave.
Azhari Setiawan in Albertus Vembrianto, oba domačina, raziskujeta čudovito Papuo – njeno burno
preteklost, sedanjost, naravo in ljudi – na različne, a dopolnjujoče se načine. Azhari, fotograf pri uradu
za odnose z javnostjo indonezijskega ministrstva za turizem, raziskuje skupnost iz okrožja Tambrauv,
zaščitenega območja narave. Še vedno vidne rane iz druge svetovne vojne, nastale, ko je to odročno
območje postalo kolateralna škoda kolonialnih sil, zaslepljenih z denarjem, Azhari kot s čopičem in
tušem zarisuje na svoje črno-bele posnetke. Na eni njegovih podob narava – počasi za ljudi, a hitro
za lastni časomer – enakomerno in nežno objema in golta ostanke jekla, morilske pošasti, ki jo

84
Simply observing, coming into the community or being/becoming of the community, while document-
ing it, gives very different insights. Every tourist that comes to Papua, the eastern most edge of the
Indonesian archipelago, mostly for diving or for trekking, engages with the only layer she/he is able
to reach – often beautiful but equally disconnected. Local photographers inevitably engage, exploring
deeper layers and complex issues.
Azhari Setiawan and Albertus Vembrianto, both locals, explore beautiful Papua – its turbulent past,
present, nature and people – in different yet complementary ways.
Azhari, a photographer for the Indonesia Ministry of Tourism’s Public Relations Office, explores com-
munity in the Tambrauw regency, a designated nature conservation area. With black and white im-
ages, like with the ink brush, he sketches the still visible wounds from WWII when this isolated area
became collateral damage of greed-blinded colonial powers. In one of his images, nature, slowly for
us humans but fast for her own time count, steadily and gently envelops and disappears the remains
of steel, the murderous monster-machine we call tank. Azhari shares his admiration for nature and
people who are still part of it. “They believe that if we protect nature, nature will protect them,” Azhari
said summarizing his talk with a Tambrauw chief. Indeed, despite environmental harm that befalls
many parts of Papua from big, often foreign-owned, businesses, Tambrauw people are gentle and
careful about their impact. They care for the rubia trees and use only those that are at least seven

AZHARI SETIAWAN
 imenujemo tank. Azhari občuduje naravo in ljudi, ki so še vedno del nje. »Verjamejo, da jih bo narava
obvarovala, če bodo oni obvarovali njo,« je povzel svoj pogovor s poglavarjem Tambrauva. In dejansko
je kljub okoljski škodi, ki so jo Papui povzročila podjetja v lasti tujcev, ljudstvo Tambrauva pri svojem
vplivu na naravo nežno in pazljivo. Skrbijo za drevesa iz rodu Rubia; uporabijo samo tista, ki so stara
najmanj sedem let. »Ostala bodo rasla naprej za naslednjo generacijo,« je Azhariju povedal eden od
starešin. In prav za naslednjo generacijo bi nas moralo skrbeti. Otroci bi se radi učili, vendar v tem
območju ni možnosti za višjo izobrazbo. Njihova dediščina je narava – oz. to, kar od nje ostaja. V času
Grete Thunberg in evropskega gibanja Extinction Rebellion se od Tambrauva in Azharijevih slik lahko
veliko naučimo.
Albertus Vembrianto pa raziskuje drugo papuansko zgodbo. Hrbtna stran kovanca nosi barvne po-
dobe, temne in nasičene. Prikazujejo dvojnost, kontrast, jukstapozicijo. V Džakarti je Vembrianto fo-
tografiral spomenik, ki so ga postavili v počastitev svobode Papue. Vzbuja občutek tihega krika,
ujetega v globinah našega drobovja, popolnega nasprotja nebu. Na neki način obuja občutek tihega
krika iz Hitchcockovega filma Ptiči – nima glasu, a vseeno odmeva.
»Mi«, ki smo drugačni od »onih« – to je oblika nasilnega dualizma, ki v večini Evrope ponovno narašča.
Agencija Evropske unije za temeljne pravice navaja, da tretjina črncev doživlja rasizem, štirje od de-

87
years old. “The rest will continue to grow for the next generation,” said one of the elders to Azhari.
And the next generations are those we do have to worry about. The children Azhari encounters want
to learn but there is no higher education in the area. Nature’s remains are what they will be left with.
In the times of Greta Thunberg and the Extinction Rebellion in Europe, there are deep lessons to learn
from Tambrauw and Azhari’s images.
Another Papuan story is explored by Albertus Vembrianto. It is the other side of the coin with colour
images, yet dark and dense. His are images of duality, of contrast and juxtaposition. A monument
erected in Jakarta to commemorate Papua’s freedom, photographed by Vembrianto, evokes the feel-
ing of a silent cry imprisoned in the depths of one’s guts that clashes with the sky. In some small
way it is a reminder of a silent scream from Alfred Hitchcock’s movie Birds – there is no voice, yet it
echoes in our mind.
“Us” as different from “them” is a form of violent dualism rising again in most of Europe. According
to the EU Fundamental Rights Agency, a third of black people experience racial harassment, while 4
in 10 say nothing would have changed by reporting it.27 Political hate speech and right wing extrem-
ism targeting Muslims and refugees have become mainstream across the EU. However, unfortunately,
it is not an exclusive European concept and problem. As most Papuans are of darker complexion
than their fellow countrymen and women from the central or western part of the archipelago, they

AZHARI SETIAWAN
ALBERTUS VEMBRIANTO ALBERTUS VEMBRIANTO
 setih pa pravijo, da se tudi s prijavo ne bi nič spremenilo.27 Politični sovražni govor in desničarski ek-
stremizem, namenjena muslimanom in beguncem, sta po Evropi postala povsem vsakdanja. Toda to
žal ni samo evropski problem. Večina Papuancev ima temnejšo polt od rojakov iz osrednjega ali za-
hodnega dela otočja, zato po videzu izstopajo. Kjer se pojavi priložnost za rasne ali etnične napetosti,
Papuanci zlahka postanejo tarča medijev, ki tako zakrijejo njihove prošnje in rešitve za globlje težave
– pomanjkanje družbene pravičnosti in enakopravnosti. Balkanu je ta dobro utečeni sistem že znan:
družbene nemire, ki grozijo vladi zaradi sistemskih problemov, rešimo tako, da nekaj grobijanov na-
govorimo k razbijanju znakov v cirilici na javnih mestih; mediji bodo pozornost takoj preusmerili tja.
Vembrianto z diptihi slik zariše relevantno vzporednico in pokaže nasilje, ki ga ta binarna zabloda
lahko povzroča v Indoneziji. »Papua je bogata z viri, čeprav velja za območje z visoko stopnjo revščine.
Zahteve po enakopravnosti in pravicah domorodnih Papuancev vlada vedno enači s separatističnimi
težnjami,« piše. Cristian Rahadiansyah, glavni urednik indonezijske izdaje revije DestinAsian in pred-
lagatelj nagrajencev v programu World Press Photo 6x6 Global Talent, ga ustrezno opisuje kot »foto-
grafa, ki je kot eden redkih svoje življenje posvetil temu, da daje glas papuanskemu ljudstvu«.

Razširjene »uvožene religije«, kot jih v svojem besedilu poimenuje Hariandi Hafid, so okužene z
binarnimi zablodami, ki spodbujajo škodljivo tekmovalnost in nasilje ter spodkopavajo kulturna

91
are easily singled out. When there is an opportunity for the racial or ethnic tensions to bloom, they
become easy scapegoats and detraction for the media, thus obscuring their plight and solutions to
deeper issues – social justice and equality. It is a well-tried system that the Balkan area is familiar
with: if a government has social unrest brewing over systemic problems, one solution is to get some
thugs to break Cyrillic signs in public areas and get media refocused. Vembrianto makes a pertinent
parallel with his diptychs of images, and the violence this binary delusion can cause in Indonesia.
“Papua is a resource-rich area although it is considered an area with a high level of poverty, while
requests for equality and justice by indigenous Papuans are always equated with separatist senti-
ments,” he wrote. About his photographic path, Cristian Rahadiansyah, editor-in-chief of DestinAsian
Indonesia and World Press Photo 6x6 Global Talent program nominator, appropriately describes Vem-
brianto as “one of few photographers that dedicates his life to give voice to the Papuan people.”
The advance of, as Hariandi Hafid calls them in his text, “imported religions” infected with binary
delusions that foster toxic competition and violence, clash with the archipelago’s cultural riches,
deeply rooted in old traditions close to nature, that go far beyond the binaries. In South Sulawesi, one
of the most populated ethnic groups, the Bugis society, traditionally recognizes five genders: makkun-
rai (female), oroané (male), bissu (intersex), calabai (female man), and calalai (male woman). Those
five genders are symbolized and represented by our fingers: the thumbs for men, the index finger
for calabai, the little finger for female, then the ring finger for calalai, and the middle finger for bissu

ALBERTUS VEMBRIANTO
HARIANDI HAFID HARIANDI HAFID
 bogastva otočja. Ta so globoko zakoreninjena v starodavnih tradicijah, ki so blizu naravi in presegajo
binarnost. V južnem delu Sulavesija ena največjih etničnih skupin, ljudstvo Bugi, tradicionalno priznava
pet spolov: makkunrai (ženska), oroané (moški), bissu (interseksualec), calabai (ženski moški) in calalai
(moška ženska). Teh pet spolov simbolizirajo naši prsti: palec – moški, kazalec – calabai, mezinec –
ženska, prstanec – calalai in sredinec: najvišji, na najvišji stopnji – bissu. Kot taki imajo bissuji moč in
dolžnost posredovati med človekom in bogom. V starih časih so bili svetovalci in zdravilci vladarjev,
varuhi tradicije. Danes izginjajo, saj smo jih potisnili na obrobje. Vloge bissujev si niso izbrali sami; to
je poslanstvo, klic, ki pride od boga. Dandanes se zdi, da so ti klici vse redkejši in vse bolj neopaženi,
čeprav se sinkretizem Indonezijcev uvoženim miselnostim in pogledom na svet častno upira. Hariandi
nas približa tem posebnim ljudem z izredno serijo portretov v naravi. Projekt z naslovom Zadnja ge-
neracija petega spola in Hariandijevi subjekti prinašajo pomembno lekcijo glede razširjanja kulturnih
možnosti in ustvarjanja alternativ v našem urbaniziranem, binarnem evropskem svetu.

Enke in ničle, številčna binarna osnova digitalnih tehnologij, nam dajejo občutek božje moči. Občutek,
da lahko sežemo v preteklost in sedanjost kogar koli, kjer koli, prebiva v bistvu našega življenja v tej
vrteči se kompresiji časa in prostora. Michael Eko ga je porabil za dober namen; v služenju naravi in
skupnosti je v svojem delu ustvaril sinergijo. Z jasnim, evokativnim vizualnim jezikom drugo ob drugo

94
– the tallest one, the highest degree. As such, the bissu have power and duty to mediate between hu-
mans and the god. In previous times, they were advisors and healers to the kings. They were protec-
tors of the tradition. Today, pushed to the margins, they are disappearing. They do not choose to be
bissu. It is a vocation, a call from the god. As times are changing, it seems that the calls are less fre-
quent or unheeded even if the syncretism of Indonesian people puts up an honourable resistance to
imported mind-sets and worldviews. Hariandi brings us closer to those special people with a re-
markable set of environmental portraits. This project, The Last Generation of the “Fifth Gender”, and
Hariandi’s subjects, carry an important lesson in broadening our cultural options and offering alter-
natives to our European urbanized and binary world.
Ones and zeros, the numerical binary base of digital technologies, gives us a feeling of godly powers.
We feel that we can reach for the past and present of anyone anywhere. It is at the core of our lives
in a spiralling time-space compression. Michael Eko used it positively, in the service of nature and
communities, creating synergy within his work. With clear and evocative visual language, he juxta-
poses black and white images with a bird’s eye view; actually, the term “bird’s eye view” in this con-
temporary approach becomes rather outdated and obsolete, better replaced by the more accurate
term – the satellite view. In this interactive project the viewer is prompted to engage and will be
transported from the very local to the very global. The technology enables an instant, click-fast shift
from the concept of alone – on the level of a local community affected by ecological problems – to

MICHAEL EKO
 postavi črno-bele slike s ptičjo perspektivo. Toda ta izraz je za njegov sodobni pristop zastarel; treba
bi ga bilo nadomestiti s točnejšim izrazom – satelitska perspektiva. V tem interaktivnem projektu bo
gledalca pozval k vključitvi in ga prenesel iz lokalnega v globalno. Tehnologija omogoča hipen preklop
iz koncepta samosti (na stopnji lokalnih skupnosti, ki so jih prizadele ekološke težave) v koncept »vse
eno«, v univerzalno visokotehnološko satelitsko perspektivo. Michael je geokartografski način pripo-
vedovanja zgodb dvignil na visoko raven. V okviru svojega dela je ustanovil ENKLAF, podjetje, ki lo-
kalnim skupnostim ponuja nasvete za e-poslovanje in pripovedovanje zgodb, kar pomaga
gospodarskemu vidiku njihovega življenja in s trajnostnim gospodarstvom hkrati varuje njihovo okolje.
»Avtohtona skupnost Punan Adiu je participativno kartiranje uporabila, da je zahtevala nazaj na de-
settisoče hektarov tradicionalnih zemljišč. Lokalna vlada je njihov zahtevek priznala in uzakonila,«
so razložili v fundaciji World Press Photo, ki je Michaela uvrstila v izbor projektov, ki jih bo podprla v
okviru iniciative Solutions Visual Journalism Initiative.28

Spustimo se iz vesolja in s satelitske perspektive – na zemlji se je vnel boj. Ismar Patrizki, fotoreporter
in med letoma 2015 in 2018 urednik pri državni tiskovni agenciji Antara, še vedno najde energijo za
aktivno vključevanje v družbene iniciative. V okviru projekta Laut Luka Blues (»Otožnost ranjenega
morja«) in kampanje za opustitev dolgoročnega načrta izsuševanja in trganja ozemlja morju v zalivu

97
the concept of all-one, the hi-tech satellite universal perspective. Michael champions geo-mapping
storytelling. As part of his personal engagement, he established ENKLAF, a firm that provides con-
sultations in e-commerce and storytelling to local communities, empowering their economic life as
well as protecting their environment with a sustainable economy. The “Punan Adiu indigenous com-
munity have been using participative mapping to claim tens of thousands of hectares of their cus-
tomary land, and have the claim recognized and legalized by the local government,” as The World
Press Photo Foundation explained in choosing Michael to be part of the inaugural commissions of
the Solutions Visual Journalism Initiative.28
Back from the outer space and satellite perspective, on the ground level the battle rages. Ismar
Patrizki, a photojournalist and photo editor from 2015 to 2018 at the national press agency Antara,
still finds energy to get involved. As part of the project Laut Luka Blues (the blues of the injured sea),
and the campaign to stop a long-standing reclamation plan in Bali’s Benoa Bay, Ismar published a
creative booklet that unfolds into posters. He photographed portraits of singers, dancers, artists of
all kinds, surfers, intellectuals and students, locally or nationally famous or completely unknown,
holding signs and messages speaking out against the destruction of the bay, the sea and the envi-
ronment for the short-term profit of the greedy few. In 2018, about 150,000 people live in 12 villages
on 1,375 hectares of the Benoa Bay that is under threat.29

MICHAEL EKO
ISMAR PATRIZKI ISMAR PATRIZKI
 Benoa na Baliju je Ismar objavil izvirno knjižico, katere strani se razgrnejo v plakate. Na njih so portreti
pevcev, plesalcev, umetnikov vseh zvrsti, deskarjev, intelektualcev in študentov – znanih na lokalni ali
državni ravni ali pa popolnoma neznanih – ki v rokah držijo znake in sporočila, s katerimi protestirajo
proti uničenju zaliva, morja in okolja za kratkoročen zaslužek peščice pohlepnih ljudi, večinoma tujcev.
Leta 2018 je na 1.375 hektarih ogroženega zaliva Benoa v dvanajstih vaseh živelo 150.000 ljudi.29 Za
mnoge Slovence in Evropejce je Bali lahko dostopna, dokaj poceni počitniška destinacija. Ismar pa s
svojim fotografskim artefaktom in aktivistično knjižico obiskovalce vabi, naj pridejo in izkusijo resnični
Bali, ne le iluzije »jej, moli, ljubi«. Obenem nas knjižica opominja na moč, tako fotografa kot skupnosti
– kot memento enega doslej najdolgotrajnejših gibanj državljanskega upora v zgodovini Indonezije.

Moči človekove vezi z morjem ljudje s celine nikoli ne moremo zares začutiti. Človekovo življenje ob
morju je tesno povezano z močjo morja in živimi bitji v njem. Trinajst let po tem, ko je (leta 2004) pro-
vinco Aceh prizadel smrtonosni cunami, je Fahreza Ahmad nekaj časa spremljal ribiče iz vasi Teupin
Lajeu v okrožju Aceh Besar pri njihovem vsakodnevnem delu. Pri ribolovu v zalivu Lhok Seudu še na-
prej uporabljajo palong, tradicionalno in okolju prijazno katamaransko ladjo za lov z mrežo, in lovijo
predvsem manjše ribe. Ribolov z eksplozivom ali vleka ribiške mreže po morskem dnu za ladjami –
tehniki, ki sta svetovnim oceanom in morjem ter življenju v njih povzročili nepopisno škodo – zanje

100
For many Slovenians and Europeans, Bali is an easily accessible, relatively cheap, holiday destination.
Ismar’s all-in-one photographic artefact and activist booklet, is an invitation for visitors to come and
experience the real Bali, not just the “eat-pray-love” illusion. At the same time, it is a reminder of the
photographer’s and people’s power, a memento to one of the longest lasting citizen resistance cam-
paigns in modern Indonesian history.
The bond between man and sea can never be truly felt by people of the land. Man’s life by the sea is
intimately connected to the strength of the sea and the beings in it. Thirteen years after one of the
deadliest tsunamis hit Aceh province in 2004, Fahreza Ahmad followed fishermen from Teupin Layeu
village of Aceh Besar district in their daily routine. They continue their traditional way of fishing in
Lhok Seudu Bay, using palong, a traditional and environmentally-friendly catamaran boat, to catch
mainly small fish with their nets. Blast fishing with explosives, or trawling, pulling a fishing net
through the water behind the boats – techniques that have caused tremendous injuries to the world’s
oceans and seas, and the lives they nurture – were never an option for them. Instead, they work with
meujhab, a fishing net that they lower into the sea and then illuminate with lights to attract fish into
the net. They start around 2 o’clock at night when most people are still asleep, to be able to deliver
fresh fish in the morning. They never know what their catch will yield. They have no guarantee of
how many millions of rupiahs they will be able to split between the owner of the palong and the

FAHREZA AHMAD
 nikoli nista prišla v poštev. Namesto tega delajo z meudžhabom, ribiško mrežo, ki jo spustijo v morje
in nato osvetlijo, da privabijo ribe. Začnejo po drugi uri ponoči, ko večina ljudi spi, da lahko zjutraj do-
stavijo sveže ribe. Nikoli ne vedo, kako donosen bo njihov ulov. Nobenega zagotovila ni o tem, koliko
milijonov rupij si bodo lahko lastnik palonga in ribiči ob koncu tedna enakovredno razdelili – morda
pet, morda deset. Košara rib se običajno proda za okoli 2 evra. Preživetje celotne skupnosti zaliva Lhok
Seudu pa je odvisno od ribolova. Trenutno se na desetine prebivalcev ukvarja s trgovino s soljenimi ri-
bami in predelavo sardin. In le znotraj skupnosti si zagotavljajo preživetje: »Da poleg ribolova vsak
dan zaslužim za potrebe svoje družine, z ženo še kmetujeva, nato se malce odpočijem in se popoldne
spet odpravim na morje,« fotografu pove Zaenal, eden od ribičev. Fotograf razume. Prihaja iz iste skup-
nosti na skrajnem zahodnem robu Indonezije. Čeprav je njegova življenjska pot drugačna, si z ribičem
deli enako intimno in močno povezanost z morjem ter potrebo po ohranjanju narave, v kateri živi. Fa-
hreza s svojimi dragocenimi, za okolje zavzetimi dokumentarnimi fotografskimi projekti in z orodjem,
ki ga ponujajo digitalni mediji, dosega javnost ter glas skupnosti in morja prenaša v svet.

Narava je ogrožena. Če smo, tako kot bissuji ali Tambrauv ali ribiči s palongi, »vsi eno« s tem planetom, smo
ogroženi tudi mi. Zulkifli do tonečih vasi in javanskega ljudstva čuti močno empatijo. Vse njegove podobe
so črno-bela solza, ki steče po licu in pade v morje. Prihodnost, ki se pozibava med slikami, strmi v nas.

103
fishermen – maybe five, maybe ten. A basket full of fish is usually sold for the value of about 2 euros.
The livelihood of almost the entire community of Lhok Seudu Bay depends on the sea. Currently there
are dozens of other residents who ventured into the salted fish trade and anchovy processing busi-
nesses. And also within the community they make their living: “To patch up my family’s daily neces-
sities, every morning after fishing in the sea, I go farming with my wife, get some rest, then go back
to the sea again in the afternoon,” Zaenal, one of the fishermen tells the photographer. The photog-
rapher understands. He is from the same community here at the final western edge of Indonesia.
Though his life course is different, he shares the same intimate and strong connection to the sea and
the need to preserve the nature they live in. With his precious engaged documentary photographic
projects and the tools of digital media, Fahreza amplifies the reach and sound of the voice from the
community and the sea to the rest of the world.
Nature is endangered. If we are, like the bissu or Tambrauw, or the palong fishermen, all-one with
this planet, then we are endangered too. Zulkifli feels strong empathy for sinking villages and people
of Java island. Every image of his is a black and white tear that rolls down the cheek and drops into
the sea. Our very future stares us in the eye, bobbing from one image to the next.
Zulkifli became a photographer by accident, he says. Volunteering after the earthquake in West Suma-
tra in 2009 he got assigned to document activities of the organization and other volunteers, one way

FAHREZA AHMAD
ZULKIFLI ZULKIFLI
 Zulkifli pravi, da je fotograf postal po naključju. Po potresu v Zahodni Sumatri leta 2009 je začel delati
kot prostovoljec, pri čemer je dobil nalogo dokumentiranja dejavnosti organizacije in drugih prosto-
voljcev – kar je eden od načinov, da fotograf takoj razvije močno empatijo. Je tudi način, kako se na-
učimo opaziti opozorila narave, ki jih ta izreka v obliki naravnih katastrof. Indonezija leži v središču
besa ranjene narave. Ljudje živijo med morjem in vulkani, v kočljivem in krhkem soobstoju. Opozorila
Zulkifli razkriva v podobi pokopališča, na katerem vrhovi nagrobnikov komaj segajo nad gladino.
Smrt. Je to stanje res tako končno, kot se nam zdi? Fauzy Chaniago se je odpravil na Bali učit po-
membne lekcije o, po lastnih besedah, »karmi pali, kar pomeni, da imajo moja dejanja na tem svetu
posledice«. Četudi je Bali kliše novodobnega turizma, raj za poceni medene tedne in zbirališče de-
skarjev, je tudi otok bogate hindujske tradicije, ki je imel do 15. stoletja velik verski pomen. Z združitvijo
elementov starejših duhovnih praks in praks budizma je hinduizem na Baliju oblikoval povsem lastno
različico.
Fauzy nas z občutkom mistike popelje v svoj fotografski potop v sam . sāro – pojem, ki v sanskrtu po-
meni »tavati« ali »svet«, ki nakazuje ciklične in zapletene spremembe.30 Na razstavi je njegov projekt
skrajna točka, kjer mora obiskovalec v mislih ponovno preleteti in odstreti že videne projekte ter še
enkrat razmisliti o lastni poti skozi fotografijo, o svojih prehodih, prestopkih in lastni zavzetosti.

107
for a photographer to develop a keen sense of empathy from the start. It is also a way to learn to no-
tice when nature sends signs in the shape of advancing disasters. Indonesia is on the forefront of
nature’s injured fury. People live between the sea and volcanos, in a precarious and fragile co-exis-
tence. The warning is visible in the image of the graveyard with tips of the headstones struggling to
stay above water.
Death. Is that such a final state as it seems to us? Fauzy Chaniago went to Bali to learn one important
lesson, according to his own admission, “about Karma-Pala, what I do in this world will have conse-
quences.” Besides being the cliché of new-age tourism, cheap honeymoon galore and a surfer’s hang-
out, it is the island of rich Hindu tradition, remnant of a once vast and strong religious influence that
lasted until the 15th century. By including elements of older spiritual practices and that of Buddhism,
the Hinduism in Bali formed its distinct variance.
With mystical feel Fauzy leads us to follow his photographic immersion into the concept of Sam.sāra,
a Sanskrit word meaning “wandering” or “world”, implying cyclical and circuitous change.30 At the
exhibition, this project marks the point where the visitor needs to turn around and rediscover some
already seen projects and to rethink one’s own path within photography, transitions, transgressions
and engagement.

ZULKIFLI
FAUZY CHANIAGO FAUZY CHANIAGO
 Aftonun Nuha, zadnji predstavnik te nove skupnosti, ki je spomladi leta 2020 naselila Galerijo
Jakopič, nas vabi, da upočasnimo korak, se ustavimo in raziščemo podrobnosti v njegovih foto-
grafijah. Te so premišljujoče in mirne, a tudi mučne, kot trenutek soočenja z lastno temno stranjo
med tiho meditacijo. Ne more skriti, da njegovo opažanje zaznamuje žalost zaradi vpliva člove-
štva na naš planet. Uporaba barv v projektu Tišina je tukaj notri oglušujoča nam ne dovoli počitka.
Igra se z iluzijo, da je sama fotografija resničnost v dveh dimenzijah, obenem pa mu uspe ustvariti
podaljšane filmske prizore, ki pri gledalcu ustvarjajo pričakovanje dramatičnega trenutka, ki še
ni prišel. Prav to je trenutek, s katerim se moramo soočiti, saj obstaja v vseh nas. Vprašanje
osebne ali skupne vizije tega trenutka ostaja neodgovorjeno in nas poziva, da se odločimo: vsak
sam ali vsi eno.

Videnje 20/20 je pojem iz oftalmološkega žargona, ki označuje jasen, oster in osredotočen vid obeh
očes. Nam, kuratorski ekipi, se zdi, da bi tej postreformacijski skupini sodobnih indonezijskih foto-
grafov zlahka postavili to diagnozo; ne le zaradi vida, temveč tudi zaradi njihove zmožnosti srčnega
videnja. V tem duhu je na koncu tega kataloga vredno ponoviti: na teh stenah ni niti ene fotografije,
ki bi spremenila svet – ni pa mogoče zanikati, da so ga spremenili fotografi in da ga s svojimi dejanji
prek dosega svojih objektivov spreminjajo še naprej.

110
As the last representative of this new community, which inhabits Jakopič Gallery in the spring of
2020, Aftonun Nuha invites us to slow down, to pause and explore details of his images. They are
contemplative and calm yet as disturbing as the moment we would face our inner dark side during
silent meditation. He cannot hide his observation from being marked with noticeable sadness about
the impact humans have on the environment. His use of colour in his project In Here the Silence is
Deafening, does not give us respite. It plays with the illusion that a photograph is itself reality in two
dimensions while, at the same time, he manages to create prolonged movie scenes that arouse the
viewer’s expectation of a dramatic moment that has yet to come. And it is that very moment that we
have to confront as it is in each one of us. The question of a personal or communal vision about that
moment remains unanswered and triggers us to answer it – all alone or all-one.
Vision 20/20 is an ophthalmologist’s jargon that denotes a clear, sharp and focused vision of both
eyes. To us, the curatorial team, it seems that this group of post-Reformation, contemporary photo-
graphers of Indonesia definitely can be diagnosed as such, not just for their eyesight but for the vision
of their heart as well. In that spirit, at the end of the catalogue, maybe it is worth repeating: on the
walls, there is no single image that changed the world, yet many of the photographers indisputably
did and do change the world, through their actions beyond the camera.

AFTONUN NUHA
 1 20
Zhuang Wubin, Photography in Southeast Asia: A Survey (Singa- Wubin, Photography in Southeast Asia, 63.
pore: NUS Press, 2016), 64. 21
Niels Mulder, Mysticism in Java: Ideology in Indonesia (Amster-
2
Yudhi Soerjoatmodjo, “The Challenge of Space: Photography in dam: The Pepin Press, 1998), 9.
Indonesia, 1841–1999,” in Serendipity: Photography, Video, Experi- 22
Sebastião Salgado and John Berger, The Spectre of Hope,
mental Film and Multimedia Installation from Asia, ed. Furuichi Ya- Minerva Pictures, video, 51:41, https://archive.org/details/
suko (Tokyo: The Japan Foundation Asia Center, 2000), 143–148, salgadoTSOH.
https://www.scribd.com/document/122514950/The-Challange- 23
“The Emerging Photographer Fund 2016,” Burn Magazine,
of-Space-Photography-in-Indonesia-1841-1999.
14. 6. 2016, https://www.burnmagazine.org/essays/2016/06/
3
Ibid. epf-2016-the-winners/.
4
Augusto Boal, Aesthetics of the Oppressed, trans. Adrian Jackson 24
“Association of Religion Data Archives,”
(London: Routledge, 2006), 20. http://www.thearda.com/.
5
Melvin McLeod, ed., The Best Buddhist Writing 2005 (Boston: 25
“Women refugees and migrants,” UN Women, 14. 2. 2020,
Shambhala Publications, 2005), 275. https://eca.unwomen.org/en/news/in-focus/women-
6
John Berger, Understanding a Photograph (New York: Aperture, refugees-and-migrants.
2013), 83. 26
Arjun Appadurai, “Aspirational maps: On migrant narratives and
7
Ibid, 71. imagined future citizenship,” Eurozine, 19. 2. 2016,
8
Simon Kemp, “Digital Around the World in 2019,” 14. 2. 2020, https://www.eurozine.com/aspirational-maps/.
27
https://wearesocial.com/global-digital-report-2019. “Fundamental Rights Report 2019,” European Union Agency for
9
Kate Lyons, “Why is Indonesia moving its capital city? Everything Fundamental Rights, 6. 6. 2019, https://fra.europa.eu/en/ publica-
you need to know,” The Guardian, 27. 8. 2019, tion/2019/fundamental-rights-report-2019.
28
https://www.theguardian.com/world/2019/aug/27/why-is-in- “An initiative to promote and produce visual journalism with a
donesia-moving-its-capital-city-everything-you-need-to-know. solutions focus,” World Press Photo, https://www.world-
10
Karl Peltzer and Supa Pengpid, “Loneliness correlates and as- pressphoto.org/programs/develop/solutions-visual-journalism-
sociations with health variables in the general population in In- initiative/38313.
29
donesia,” International Journal of Mental Health Systems 13, no. 24 Febriana Firdaus, “Bali rockers rage against reclamation in
(April 2019), https://doi.org/10.1186/s13033-019-0281-z. Indonesia’s tourist hub,” Al Jazeera, 2. 2. 2020,
11
“Online Etymology Dictionary,” https://www.etymonline.com/. https://www.aljazeera.com/news/2020/01/bali-rockers-rage-
12 reclamation-indonesia-tourist-hub-200115032833759.html.
“Sanskrit-English / English-Sanskrit Dictionary for Spoken
30
Sanskrit,” http://spokensanskrit.org/index.php?direct=au. “Association of Religion Data Archives,”
13 http://www.thearda.com/.
The Best Buddhist Writing 2005, 275.
14
Boal, Aesthetics of the Oppressed, 20.
15
“About erasure,” The Erased: Information and Documents, 14. 2.
2020, http://www.mirovni-institut.si/izbrisani/en/about-erasure/
index.html.
16
Boal, Aesthetics of the Oppressed, 17.
17
Mary Dickson, “A Woman’s Worst Nightmare,” 1996,
https://www.pbs.org/kued/nosafeplace/articles/nightmare.html.
18
“Let’s put an END to Violence against Women”, European Com-
mission, November 2019, https://ec.europa.eu/info/sites/info/
files/factsheet-eu_action_to_combat_violence_against_women-
2019.pdf.
19
Margareth S. Aritonang, “Survey finds widespread violence
against women,” The Jakarta Post, 31. 3. 2017,
https://www.thejakartapost.com/news/2017/03/31/survey-
finds- widespread-violence-against-women.html.

Fotografija na str. / Photo on pp. 8,9: EKA NICKMATULHUDA

Naslednji strani / Next two pages: AFTONUN NUHA

AFTONUN NUHA
 ADRIAN MULYA (1974) je neodvisni fotograf, ki se ukvarja
zlasti z dokumentarno fotografijo in s fotožurnalizmom.
Njegovo zanimanje za dokumentarno fotografijo je zraslo
skozi prijateljstvo s starejšimi indonezijskimi fotografi ter
prek izobraževanja na inštitutu za fotografijo PannaFoto in v
Galeriji za fotoreportažo Antara. Leta 2016 je založba Kepu-
stakaan Populer Gramedia objavila njegovo fotoknjigo Win-
ners of Life (Zmagovalke življenja), serijo portretov
indonezijskih žensk, ki so bile v šestdesetih letih prejšnjega
stoletja obtožene komunističnega aktivizma in so preživele
represalije v zvezi s tem. Trenutno se ukvarja z več projekti,
ki nastajajo v sodelovanju z lokalnimi in mednarodnimi nev-
ladnimi organizacijami, pa tudi z različnimi osebnimi pro-
jekti; omenimo le Keroncong Irama Jakarta, zgodbo o glasbi
skupnosti Betawi, in o kitajskem vprašanju v Indoneziji.
AFTONUN NUHA (1985) je dokumentarni fotograf, ki živi in
dela v Surabaji. Svoje delo posveča aktualnim družbenim
in okoljskim vprašanjem v Indoneziji. Kadar ne dela po na-
ročilu strank, svojo pozornost usmerja na družbene pojave
in na to, kako ti vplivajo na različne skupnosti, čemur že
Biografije / Biographies več let posveča svoje zanimanje. Trenutno se ukvarja z
dolgoročnimi osebnimi projekti o muslimanskih skupno-
stih in njihovih »malih mekah«, o uničenih gozdovih man-
grove in o njihovem vplivu na Indonezijo.
AJI SUSANTO ANOM (1989) je fotograf in predavatelj, ki živi
in dela v Indoneziji. Pri svojem delu raziskuje osebna vpra-
šanja svojega notranjega življenja. Objavil je pet fotoknjig, ki
nosijo naslove Nothing Personal (Nič osebnega), Poison
(Strup), Recollecting Dreams (Pomnjenje sanj), Recollecting
Dreams: Verse II (Pomnjenje sanj: verz II) in River of Hades
(Reka v Hadu). Sodeluje tudi v skupinskem projektu Flock
Project, namenjenem raziskovanju možnosti, ki jih ponuja
format fotoknjige in fotozina. Leta 2015 se je udeležil delav-
nice Angkor Photo Workshop, ki sta jo vodila Antoine
D’Agata in Sohrab Hura. Leta 2016 je bil finalist sklada za
obetavne fotografe Burn Magazine. Njegovo delo se pojavlja
v številnih publikacijah in na razstavah po vsem svetu.
ADRIAN MULYA (born 1974) is an independent photogra-
pher specialising in documentary photography and photo-
journalism. His interest in documentary photography grew
through his friendship with established photographers in
Indonesia and his studies at the PannaFoto Institute and
Antara Gallery of Photojournalism. In 2016 the Kepus-
takaan Populer Gramedia published his photobook, Win-
ners of Life, a series of portraits of Indonesian women who
had been accused of being communist activists and had
survived the reprisals of the 1960s. He is currently work-
ing on several projects with local and international NGOs,
as well as various projects of his own, including Keroncong
Irama Jakarta, about Betawi music and how it is influenced
by Chinese issues in Indonesia.
AFTONUN NUHA (born 1985) is a documentary photogra-
pher based in Surabaya. His work focuses on current so-
cial and environmental issues in Indonesia. When he is not
working on editorial assignments for clients, he turns his
attention to social phenomena and how they affect differ-
ent communities, a subject that has interested him for 117
many years. He is currently working on two long-term
projects of his own, the first being about Muslim commu-
nities and their “little Meccas” and the other being about
damaged mangrove forests, and their respective impacts
on Indonesia.
AJI SUSANTO ANOM (born 1989) is a photographer and
lecturer based in Indonesia. His work explores the per-
sonal question of his inner life. He has published five pho-
tobooks: Nothing Personal, Poison, Recollecting Dreams,
Recollecting Dreams: Verse II and River of Hades. He is a
member of Flock Project, a collaboration exploring the po-
tential of the photobook and photozine formats. In 2015 he
participated in the Angkor Photo Workshop, mentored by
Antoine D’Agata and Sohrab Hura. In 2016 he was a final-
ist in Burn magazine’s Emerging Photographer Fund. His
work has been featured in a number of publications and
has been exhibited globally.
 ALBERTUS VEMBRIANTO (1980) je samostojni fotorepor-
ter in pripovedovalec vizualnih zgodb, ki se večinoma
ukvarja z neodvisnimi projekti v Papui. S tamkajšnjimi
vprašanji se je začel ukvarjati leta 2009, trenutno pa se
posveča dolgoročnemu fotografskemu projektu o spremi-
njajoči se krajini papuanskega življenja. Njegovo fotograf-
sko delo objavljajo lokalni in mednarodni mediji, skupaj z
drugimi fotografi in pisci pa se je predstavil tudi v celi vrsti
knjig. Včasih objavlja pod imenom Vembri Waluyas. Leta
2019 ga je organizacija World Press Photo v okviru pro-
grama 6x6 Global Talent izbrala za enega od obetavnih fo-
tografov iz jugovzhodne Azije in Oceanije.
APRILLIO ABDULLAH AKBAR (1994) je fotoreporter, ki tre-
nutno živi v Džakarti. S fotografijo je prišel v stik že v rosni
mladosti, saj je nanj močno vplival oče, ki je poklicno foto-
grafiral poroke. Potem ko je diplomiral iz fotografije na In-
donezijskem inštitutu za umetnost v Džogdžakarti (ISI
Yogyakarta), je začel sodelovati z nacionalno tiskovno
agencijo Antara; zanjo je prispeval fotografije s številnih
področij, od vsakodnevnega življenja do družbenih in politi-
118 čnih vprašanj, prava, ekonomije, športa in naravnih nesreč.
AZHARI SETIAWAN (1988) je fotograf, ki živi in dela v Dža-
karti. Uživa v ustvarjanju fotografskih zgodb o naravi, lju-
deh, kulturi, skupnostih in družbenih vprašanjih, zlasti v
Indoneziji. Prepričan je, da ima Indonezija zelo veliko
zgodb, ki jih velja povedati. Kot Indonezijec jih skozi foto-
grafski medij z veseljem predstavlja drugim, skupaj s šte-
vilnimi fotografi, ki prihajajo od drugod. Trenutno dela kot
fotograf za urad za odnose z javnostmi indonezijskega mi-
nistrstva za turizem, njegova velika želja pa je povedati
svetu čim več zgodb o Indoneziji.
DJOYOSANTYO JOACHIM (1992) se je s fotografijo začel
ukvarjati prek dela z negativi in družinskimi portreti za
osebno rabo. Potem ko je diplomiral iz fotografije na Uni-
verzi Trisakti, je sklenil postati učitelj. Trenutno dela kot fo-
tograf, učitelj črno-belega tiskanja in samostojni umetnik.
Udeležil se je več delavnic, med njimi velja omeniti foto-
grafsko delavnico s Klavdijem Slubanom in seminar o fo-
toknjigi, ki ga je vodil Markus Schaden.
ALBERTUS VEMBRIANTO (born 1980) is a freelance pho-
tojournalist and visual storyteller who mostly works on in-
dependent projects in Papua. He began focusing on
Papuan issues in 2009 and is currently working on a long-
term photo project about the changing landscape of
Papuan life. His photographic work has been published by
both local and international media, as well as in several
books alongside other photographers and writers. Occa-
sionally he is published under the name Vembri Waluyas.
In 2019 he was named as one of the emerging photogra-
phers from Southeast Asia and Oceania for World Press
Photo’s 6x6 Global Talent Program.
APRILLIO ABDULLAH AKBAR (born 1994) is a photojour-
nalist currently residing in Jakarta. Thanks to the influ-
ence of his father, who was a wedding photographer,
Aprillio was exposed to photography from a very young
age. After graduating in Photography from the Indonesia
Institute of The Arts (ISI Yogyakarta) he became a contrib-
utor to Antara, the Indonesian national news agency, cov-
ering a range of assignments, including daily life, social
and political issues, law, economics, sports and disasters.
AZHARI SETIAWAN (born 1988) is a photographer based
in Jakarta. He enjoys creating photo stories about nature,
people, culture, communities and social issues, especially
those from Indonesia. He sees Indonesia as having so
many stories worth telling, and as a local he is passionate
about sharing them through this medium, alongside the
numerous photographers from elsewhere. He is currently
a photographer for the public relations office of the In-
donesian Ministry of Tourism, and his dream is to tell the
world as many stories as possible about Indonesia.
DJOYOSANTYO JOACHIM (born 1992) took up photography
as a result of working with negatives and family portraits for
his personal use. He graduated in Photography from the
University of Trisakti and decided to become a teacher. He
currently works as a photographer, sometimes on a free-
lance basis, and teaches black and white printing. He has
participated in several photographic workshops, including
one with Klavdij Sluban and a Photobook Masterclass with
Markus Schaden.
EDY SUSANTO (1977) se je rodil v Džakarti. Je fotograf, ki
ga zelo zanima dokumentiranje družbenih vprašanj. Izo-
braževanje v Galeriji za fotoreportažo Antara je končal leta
2000, nato pa se je udeležil več fotografskih delavnic, vklju-
čno z seminarjem Petra Bialobrzeskega. Sodeluje z lokal-
nimi mediji in mednarodnimi fotografskimi agencijami.
Njegove fotografije objavljajo Tempo, National Geographic
Indonesia, Newsweek Japan in drugi mediji. Leta 2009 je
Tempo njegov projekt o HIV/aidsu razglasil za enega naj-
boljših fotografskih esejev. Svoje delo je Edy Susanto pred-
stavil tudi na različnih razstavah (med njimi velja omeniti
Jakarta International Photo Summit v Narodni galeriji Indo-
nezije in JIPFest - džakartski mednarodni foto festival) in
s sodelovanjem pri več fotoknjižnih projektih.
EKA NICKMATULHUDA (1981) je fotografinja, ki živi in dela
v Džakarti. Fotoreportersko kariero je začela pri najpo-
membnejšem indonezijskem tedniku Tempo. Na samo-
stojno pot je stopila leta 2009. Sodeluje z različnimi mediji
v Indoneziji in v tujini, pri svojem delu pa se posveča zlasti
raziskovanju zgodb o človečnosti, zdravju in ženskah.
FAHREZA AHMAD (1981) je dokumentarni fotograf, ki živi
in dela v Banda Acehu. Za Beritagar.id in Ekuatorial, indo-
nezijska digitalna medija, ki pogosto objavljata fotografske
eseje o aktualnih vprašanjih, je poročal o vprašanju ribičev.
Leta 2018 je prejel nagrado indonezijske nacionalne orga-
nizacije za fotoreportažo (PFI), in sicer za drugo mesto v
kategoriji fotografij na temo okolja.
FAJRI AZHARI (2001) prihaja iz Bukitingija v provinci Za-
hodna Sumatra. Za fotografijo se je začel zanimati v gim-
naziji, zgledoval se je po bratu. Potem ko se je podal v svet
fotografije, je sodeloval na več natečajih, kjer je prejel tudi
nekaj nagrad. Omeniti velja natečaje Concurrentie Koning,
Photography Passion 2, Highlandtion, Bukittinggi in projekt
Sore Rabu. Trenutno študira fotografijo na Indonezijskem
inštitutu za umetnost v Džogdžakarti, v prihodnosti pa si
želi postati poklicni fotograf.
EDY SUSANTO was born in Jakarta in 1977. He is a photog-
rapher with a strong interest in documenting social issues.
He completed his training at the Antara Gallery of Photo-
journalism in 2000 and has attended a number of photo-
graphic workshops, including a masterclass with Peter
Bialobrzeski. He has been a contributor to various local
media outlets and international photo agencies. He has
been published in Tempo, National Geographic Indonesia,
Newsweek Japan and others. In 2009 the Indonesian maga-
zine Tempo included his project on HIV/AIDS in their list of
best photo essays. He has exhibited his work in a number of
exhibitions, including the Jakarta International Photo Sum-
mit and JIPFest - the Jakarta International Photo Festival,
and has undertaken a number of photobook projects.
EKA NICKMATULHUDA (born 1981) is a Jakarta-based
photographer. She started her career as a photojournalist
for Tempo, Indonesia’s biggest magazine. In 2009 she went
freelance. Contributing to a range of media outlets both in
Indonesia and abroad, she devotes most of her work to ex-
ploring issues relating to humanity, health and women.
FAHREZA AHMAD (born 1981) is a documentary photog-
119
rapher based in Banda Aceh. Fahreza created the photo-
graphs of fishermen that were published by Beritagar.id
and Ekuatorial, two Indonesian digital media outlets that
frequently publish photo-essays on topical issues. In 2018
Reza was awarded 2nd place in the Environment category
of the PFI [Indonesian Photojournalists Association] Na-
tional Photojournalism Awards.
FAJRI AZHARI (born 2001) comes from Bukittinggi, West
Sumatra. Inspired by his older brother, he first developed an
interest in photography in high school. He immersed him-
self in the world of photography and entered a number of
competitions, including Concurrentie Koning, Photography
Passion 2, Highlandtion, the Bukittinggi Photography Com-
petition and the Sore Rabu Project, winning several awards.
He is currently studying Photography at the Indonesian In-
stitute of the Arts in Yogyakarta, and hopes to become a
professional photographer in the future.
 FAUZY CHANIAGO (1996) je fotoreporter in dokumentarni
fotograf. Rodil se je v Medanu v provinci Severna Sumatra,
trenutno pa živi in dela v Džakarti. Leta 2017 se je udeležil
delavnice Panna Mentorship, ki jo je organiziral inštitut za
fotografijo PannaFoto, in delavnice Doc Now Photo Works-
hop na Baliju. Zanimajo ga zgodbe, kulture, prostoživeče
živali, vulkani, potovanja ter družbena in okoljska vpraša-
nja. Trenutno kot svobodni fotograf sodeluje z več tiskov-
nimi agencijami ter z lokalnimi in mednarodnimi mediji.
Njegovo delo objavljajo Time, The New York Times, The
Guardian, Al-jazeera, The Washington Post, National Geo-
graphic in drugi mediji.
HARIANDI HAFID (1987) je neodvisni dokumentarni foto-
graf in fotoreporter, ki živi in dela v Makasarju. Rodil se je
v Palopu v provinci Južni Sulavezi. Leta 2013 je na oddelku
za komunikacije Univerze Hasanudin v Makasarju diplomi-
ral iz novinarstva. Kariero fotoreporterja je začel kot pri-
pravnik pri dnevniku Ujung Pandang Express leta 2010.
Med letoma 2011 in 2015 je delal kot fotograf pri dnevniku
Koran Tempo v Makasarju. V začetku leta 2016 je stopil na
120 pot samostojnega fotografa; posveča se predvsem kultur-
nim in družbenim vprašanjem.
ISMAR PATRIZKI (1979) je fotoreporter, ki od leta 2006
dela za indonezijsko tiskovno agencijo Antara s sedežem
v Džakarti, kjer je med letoma 2015 in 2018 opravljal tudi
delo urednika fotografije. Kot fotograf je pripravil samo-
stojne fotografske razstave Gaza Perkasa (2010), Bianglala
Xinjiang (2014) in Laut Luka Blues (2015). Sodeloval je pri
številnih skupinskih razstavah in prispeval fotografije za
različne fotoknjige. Njegovo udejstvovanje na področju fo-
tografije zajema tudi kuratorsko delo, kuriral je številne
razstavne projekte v Indoneziji in v tujini, na primer Retro-
speksi Jawa Timur – ANTARA Jawa Timur (Die Stimmen der
Küsten) Pasar Hamburg, Nemčija (2016), ARKE Kilas Balik
ANTARA Jawa Barat (2018) in Indonesia: A True Partner For
Democracy, Development & Social Justice, Ženeva (2019).
FAUZY CHANIAGO (born 1996) is a photojournalist and
documentary photographer. He was born in Medan, North
Sumatra, and is currently based in Jakarta. In 2017 he at-
tended a Panna Mentorship workshop organised by the
PannaFoto Institute, and a Doc Now photo workshop in
Bali, Indonesia. He is interested in stories, culture, wildlife,
volcanos, travel, and social and environmental issues. He
is currently a freelance contributor to several news agen-
cies as well as local and international media outlets. He
has been published in Time, The New York Times, The
Guardian, Al Jazeera, The Washington Post, National Geo-
graphic and others.
HARIANDI HAFID is an independent documentary photog-
rapher and photojournalist based in Makassar. He was
born in Palopo, South Sulawesi, in 1987. He studied Jour-
nalism at Hasanudin University in Makasar, graduating in
2013. He started his career in photojournalism in 2010, as
an intern with the Ujung Pandang Express. He worked as a
photographer for the Koran Tempo newspaper in Makas-
sar from 2011 to 2015. In early 2016 he went freelance,
and since then has been focusing on cultural and social
issues.
ISMAR PATRIZKI (born in 1979) is a photojournalist for the
Indonesia News Agency Antara, based in Jakarta. He has
been working for the agency since 2006, between 2015
and 2018 he held the position of a photo editor. As a pho-
tographer, he presented his solo exhibitions Gaza Perkasa
(2010), Bianglala Xinjiang (2014) and Laut Luka Blues
(2015), he participated in numerous group exhibitions and
contributed his photographs to several photography
books. His engagement in the field of photography extends
to curatorial work – he curated several exhibition projects
in Indonesia and internationally, among others: Retro-
speksi Jawa Timur – ANTARA Jawa Timur (Die Stimmen der
Küsten) in Pasar Hamburg, Germany (2016), ARKE Kilas
Balik ANTARA Jawa Barat (2018); Indonesia: A True Partner
for Democracy, Development & Social Justice in Geneva,
Switzerland (2019).
MALAHAYATI (1980) je leta 2003 diplomirala na Universi-
tas Indonesia. Na študij fotografije v Galeriji za fotorepor-
tažo Antara se je vpisala leta 2001 in bila izbrana za
fotoreportažno delavnico, ki jo je leta 2004 gostila organi-
zacija World Press Photo. Opravlja delo po naročilu strank
in komercialne projekte za različna podjetja. Njene foto-
grafije objavljajo mediji, kot so Tempo, National Geographic
Indonesia in Asian Geo, svoje delo je razstavljala tudi v kul-
turnem centru Erasmus Huis, v galeriji TIM Cipta in na
Džakartskem bienalu. Leta 2008 je imela samostojno raz-
stavo na Istituto Italiano di Cultura v Džakarti. Leta 2016
se je po šestletnem premoru spet začela dejavno ukvarjati
z dokumentarno fotografijo, ustanovila pa je tudi podjetje
za poročno, poslovno in produktno fotografijo. Svoje foto-
grafsko znanje z veseljem posreduje tudi družinam.
MICHAEL EKO (1987) se je rodil v Džakarti. Na Univerzi
Atma Jaya v Džogdžakarti je diplomiral iz komunikologije
(glavni predmet novinarstvo). Leta 2015 je prejel štipendijo
Azijskega centra za novinarstvo Univerze Ateneo de Ma-
nila na Filipinih. Udeležil se je več fotografskih delavnic,
njegovo delo pa objavljajo različni mediji in organizacije.
S povezovanjem predanosti družbeni pravičnosti in strasti
do vizualnih podob je izbral fotografijo kot medij za infor-
miranje in ozaveščanje ter za posojanje glasu vsem, ki so
nezadostno zastopani. Ustanovil je podjetje ENKLAF, ki lo-
kalnim skupnostim svetuje o e-trgovini in pripovedovanju
zgodb ter tako izboljšuje njihovo ekonomsko življenje in
varuje njihovo okolje.
MUHAMMAD FADLI (1984) je na Sumatri rojeni fotograf, ki
se posveča predvsem dokumentarni in portretni fotografiji.
Živi in dela v Džakarti, a pogosto potuje in se ukvarja z
osebnimi projekti, v katerih preučuje večinoma teme, po-
vezane z Indonezijo. Poleg tega dela po naročilu za razli-
čne mednarodne publikacije, ukvarja pa se tudi s
poslovnimi in komercialnimi projekti. Je soustanovitelj
neodvisnega kolektiva indonezijskih fotografov Arka Pro-
ject in član skupine Inland, v kateri delujejo mednarodni
fotografi, ki snujejo in izvajajo dolgoročne dokumentarne
projekte, temelječe na fotografiji. Dela tudi kot urednik fo-
tografije za Forbes Asia.
MALAHAYATI (born 1980) graduated from the University of
Indonesia in 2003. She studied photography at the Antara
Gallery of Photojournalism in 2001 and was selected for
the World Press Photo photojournalism workshop in 2004.
She has undertaken editorial work and commercial proj-
ects for a number of companies. She has been published in
media outlets such as Tempo, National Geographic Indonesia
and Asian Geo, and has had her work exhibited at Erasmus
Huis, the TIM Cipta Gallery and the Jakarta Biennale. In
2008 she held a solo exhibition at the Istituto Italiano di
Cultura Jakarta. In 2016, after a break of six years, she
started actively pursuing her passion for documentary
photography and set up her own business specialising in
wedding, corporate and product photography. She also en-
joys sharing her photography know-how with families.
MICHAEL EKO was born in Jakarta in 1987. He has a de-
gree in Journalism from the Atma Jaya University in Yo-
gyakarta. In 2015 he was awarded a fellowship from the
Asian Center for Journalism at Ateneo de Manila University
in the Philippines. He has attended several photographic
workshops and has been published by various media out- 121
lets and organisations. Combining his dedication to social
justice with his passion for visual imagery, he chose pho-
tography as a medium in order to raise awareness of the
underrepresented and help amplify their voices. He also
founded ENKLAF, a company providing e-commerce and
storytelling consultancy to local communities, thereby cre-
ating a sustainable boost to their economies as well as
helping to protect their environments.
MUHAMMAD FADLI was born in Sumatra in 1984 and fo-
cuses on documentary photography and portraiture. Based
in Jakarta, he travels widely in the course of his projects,
which mostly explore topics connected with Indonesia. He
also takes on corporate and commercial projects, and un-
dertakes editorial assignments for a number of interna-
tional publications. He was one of the co-founders of Arka
Project, an independent collective of Indonesian photogra-
phers, and is a member of Inland, a group of international
photographers who come up with ideas for long-term pho-
tography-based documentary projects and then carry them
out. He is also a photo editor for Forbes Asia.
 MUNI MOON (1984) je na Inštitutu za družbene in politične
vede (IISIP) v Džakarti diplomirala iz novinarstva. Med le-
toma 2008 in 2009 je delala na oddelku za digitalizacijo fo-
tografskega arhiva na Svetu za umetnost v Džakarti. Leta
2018 je v Surabaji izdala fotoknjigo z naslovom Senja. Pri
svojem delu se posveča človečnosti, ženskam, otrokom,
diskriminaciji, marginalnim skupnostim in stereotipom.
Večkrat se odpravi v manjše indonezijske vasi, med potjo
pa rada bere in plete.
OKKY ARDYA (1977) je svojo novinarsko kariero začela
leta 2003 kot poročevalka. Delala je kot piska spletnih
novic, reklamnih sporočil in televizijskih scenarijev ter kot
urednica pri reviji za grafično oblikovanje. Leta 2013 je
prejela štipendijo za študij na Azijskem centru za novinar-
stvo Univerze Ateneo de Manila na Filipinih. Leta 2014 se
je udeležila 10. delavnice Angkor Photo Workshop v Kam-
bodži. Leto zatem je bilo njeno delo razstavljeno na festi-
valu Kathmandu Photo v Nepalu. V zadnjem času je bila
izbrana za projekt Global Innovation & Leadership, ki po-
teka v Keniji in Londonu, organizirata pa ga Deutsche Ge-
122 sellschaft für Internationale Zusammenarbeit (GIZ) in
Thomson Reuters Foundation. Najraje se posveča dolgoro-
čnim dokumentarnim projektom, ki se ukvarjajo z vpraša-
nji spola in človekovimi pravicami.
RANGGA YUDHISTIRA (1992) se je rodil in odrasel v
Džogdžakarti. Je diplomirani oblikovalec vizualnih komu-
nikacij. Za fotografijo se je začel zanimati okoli leta 2010,
ko je končal gimnazijo. Veliko se je naučil sam, fotografija
je kmalu postala njegov konjiček. Leta 2016 se je začel z
njo ukvarjati intenzivneje, postal je tudi samostojni foto-
graf. Skupaj s kolegi umetniki je ustanovil večplatformski
umetniški kolektiv, imenovan Studio Batu. Leta 2017 je
skupaj s kolegi razstavljal v razstavišču Lir Space v
Džogdžakarti. Uživa v spoznavanju in raziskovanju sveta
fotografije.
MUNI MOON (born 1984) has a degree in Journalism from
the Institute of Social and Political Sciences in Jakarta.
From 2008 to 2009 she worked in the digitalisation de-
partment of the Jakarta Arts Council’s photographic
archive. In 2018 she published a photo book called Senja.
Her work focuses on humanity, women, children, discrimi-
nation, marginal communities and stereotypes. She enjoys
travelling to small villages across Indonesia, reading
books and knitting along the way.
OKKY ARDYA (born 1977) started her journalism career in
2003 as a reporter. She wrote for online news platforms
as well as working as a copywriter, TV screenwriter and
editor of a graphic design magazine. In 2013 she was
awarded a fellowship to study at the Asian Center for
Journalism at Ateneo de Manila University in the Philip-
pines. In 2014 she participated in the 10th annual Angkor
Photo Workshop in Cambodia and in 2015 her work was
exhibited at the Kathmandu Photo Festival in Nepal. Most
recently she was selected for the Kenya- and London-
based Global Innovation & Leadership project run by the
Deutsche Gesellschaft für Internationale Zusammenarbeit
(GIZ) and the Thomson Reuters Foundation. She enjoys
working on long-term documentary projects focusing on
gender issues and human rights.
RANGGA YUDHISTIRA was born in Yogyakarta in 1992 and
also grew up there. He holds a degree in Visual Communi-
cation Design. His interest in photography began to develop
in around 2010, when he graduated from high school. He
taught himself more about the subject and it became his
hobby. In 2016 Rangga became more involved with photog-
raphy and started working as a freelance photographer. He
and some other artists set up a multi-platform art collective
called Studio Batu. In 2017 he and a colleague held a photo-
graphic exhibition at Lir Space, in Yogyakarta. He enjoys
learning about and exploring the world of photography.
ROMI PERBAWA (1971) se je rodil v Kutoarju v provinci
Osrednja Java. Fotografijo je odkril leta 2006, ko se je vpi-
sal v šolo Canon School Indonesia. Od takrat se je udeležil
več fotografskih delavnic, med katerimi velja omeniti de-
lavnico Galerije za fotoreportažo Antara v Džakarti leta
2011 in delavnico Brantas v Kediriju leta 2012. Pet let je
dokumentiral otroške jahače z indonezijskega otoka Sum-
bava. Projekt z naslovom The Riders of Destiny je bil obja-
vljen v več publikacijah, predstavljen pa je bil tudi na
festivalih Visa Pour L’Image v Perpignanu in Angkor Photo
Festival v Siem Reapu.
ROSA PANGGABEAN (1982) je samostojna fotografinja, ki
živi in dela v Džakarti. V preteklosti je delala kot fotorepor-
terka za nacionalni časopis in za nacionalno tiskovno
agencijo, pri čemer so jo zanimala vprašanja družbenih
sprememb, identitete in človekovih pravic. Zanimanje za
film, glasbo, potovanja, leposlovje in literaturo jo je naučilo,
da obstaja več načinov, kako pripovedovati zgodbe, in da je
zgodb, ki jih je treba povedati, veliko. Rosa v fotografiji ra-
ziskuje tehnični vidik medija in različne pristope k pripove-
dovanju zgodb. Dejavna je kot mentorica na različnih
delavnicah za študente in javnost. Zadnja tri leta dela kot
somentorica pri fotoreportažnem programu Permata na
inštitutu za fotografijo PannaFoto. Izdala je tudi samo-
stojno fotoknjigo z naslovom Exile.
SAPTA HUDAYA (1987) je samostojni fotograf, ki živi in
dela v Džakarti. Tečaje fotografiranja je obiskoval v Galeriji
za fotoreportažo Antara, istočasno pa je na Inštitutu za
umetnost v Džakarti študiral oblikovanje vizualnih komu-
nikacij. Seznanjanje s fotografijo ga je navedlo k preučeva-
nju različnih kulturnih tradicij. V zadnjem osebnem
projektu, v okviru katerega dela predvsem s črno-belim fil-
mom in srebro-želatinasto fotografijo, se osredotoča na
različne duhovne prakse v Indoneziji. Vodi tudi javno foto-
grafsko temnico Wash & Burn v Južni Džakarti.
ROMI PERBAWA was born in Kutoarjo, Central Java, in
1971. He discovered photography in 2006 when he en-
rolled in the Canon School of Photography in Jakarta, In-
donesia, and has since participated in several photography
workshops, including one held by the Antara Gallery of
Photojournalism in Jakarta in 2011 and the Brantas Pho-
tography Workshop in Kediri in 2012. He spent four years
documenting the child jockeys of Indonesia’s Sumbawa Is-
land, and the resulting photo series, The Riders of Destiny,
was published in several publications and featured at the
Visa Pour L’Image festival in Perpignan and the Angkor
Photo Festival in Siem Reap.
ROSA PANGGABEAN (born 1982) is a freelance photogra-
pher based in Jakarta. She previously worked as a photo-
journalist for a national newspaper and a national news
agency, specialising in issues relating to social change,
identity and human rights. Through her interest in film,
music, travel, fiction and literature she came to realise
that there are many ways to tell a story and many stories
to tell. Rosa likes to explore the technical aspects of the
photographic medium, as well as the various approaches 123
to storytelling. She acts as a mentor at workshops for stu-
dents and the public. For the past three years she has
been co-mentor for the Permata Photojournalist Program
at the PannaFoto Institute. She has also published a pho-
tobook called Exile.
SAPTA HUDAYA (born 1987) is a freelance photographer
based in Jakarta. He took photography classes at the An-
tara Gallery of Photojournalism while studying Communi-
cation Visual Design at the Jakarta Art Institute. His
introduction to photography led him to explore ways of ob-
serving diverse cultural traditions. Working mainly with
black and white film and silver gelatin print, his latest
project focuses on various spiritual practices in Indonesia.
He also runs Wash & Burn, a public photographic dark-
room in South Jakarta.
 UTAMI GODJALI (1984), ki jo kličejo »Memi«, se je rodila v
Džakarti, kjer je končala študij odnosov z javnostmi. Za fo-
tografijo se zanima že od malih nog, trenutno dela kot sa-
mostojna fotografinja. Sodelovala je na več skupinskih
razstavah v Indoneziji in drugod. Njeno delo temelji na
osebnih izkušnjah in drugih oblikah dnevnikov, na igri do-
mišljije, realnosti in sanj. Zdi se, da so vsa omenjena po-
dročja brez jasnih meja in da se v njenem življenju tesno
prepletajo. »Bela škatla«, ki jo uporablja kot metaforo za
svoj osebni umetniški proces, ji pomeni varen kraj za raz-
mišljanje.
YOPPY PIETER (1984) je pripovedovalec vizualnih zgodb, ki
se je rodil in odrasel v Džakarti. Udeležil se je več fotograf-
skih delavnic, med katerimi velja omeniti zlasti seminar
Joopa Swarta, ki ga je pripravila organizacija World Press
Photo leta 2019, leta 2017 pa je bil izbran za program 6x6
Global Talent, namenjen fotografom iz jugovzhodne Azije in
Oceanije. Leta 2004 je bil med soustanovitelji skupine Arka
Project, pozneje pa je razvil izobraževalno platformo Arka-
demy, ki spodbuja uporabo fotografije kot kreativnega me-
124 dija za človekovo raziskovanje sebe, družbe in odnosov
med njima. Njegovo delo je bilo predstavljeno na priredit-
vah Jakarta Photo Summit, Jakarta Biennale, Photography
for Tolerance and Diversity in Mt Rokko International Photo
Festival ter objavljeno v knjigi z naslovom Saujana Sumpu.
Njegove fotografije objavljajo mediji, kot so The Washington
Post, Monocle, National Geographic in drugi. Izkušnje, ki si jih
je pridobil, je uporabil tudi pri sodelovanju z organizacijami,
kot sta Unicef Indonesia in Ikea Foundation.
YUSNI AZIZ (1987) je fotograf in pisec, ki živi in dela v Dža-
karti. Na Inštitutu Berlage na Nizozemskem je končal podi-
plomski študij arhitekture. Pri delu se osredotoča
predvsem nase, na druge, na potovanja ter na vprašanja
urbanega in podeželskega življenja. Njegova dela obja-
vljajo mediji, kot so The Guardian, DestinAsian Indonesia,
PHmuseum, Tempo in številni drugi. Razstavljal je tudi na
festivalu Photoville v ZDA in na razstavi Wisdom Photo Ex-
hibition v kulturnem centru Erasmus Huis v Džakarti. Je
soustanovitelj spletne fotografske platforme Heterogenic,
namenjene indonezijskim pripovedovalcem zgodb.
UTAMI GODJALI, nickname Memi, was born in 1984 in ZULKIFLI (1985) je postal fotograf po naključju, leta 2009, ZULKIFLI (born 1985) became a photographer by chance
Jakarta, where she studied Public Relations. She has had ko je provinco Zahodna Sumatra prizadel hud potres. Kot after a major earthquake hit West Sumatra in 2009. As a
a keen interest in photography from a young age and is prostovoljec je imel nalogo, da dokumentira dejavnosti volunteer, he was assigned to document the activities of
currently working as a freelance photographer. She has drugih prostovoljcev na prizadetem območju. Med letoma other volunteers in the area. Between 2012 and 2017 he
been part of several group exhibitions in Indonesia and 2012 in 2017 je sodeloval z agencijama Agence France- was a contributor to Agence France-Presse and the Euro-
abroad. Her work draws on her personal experiences and Presse in European Pressphoto Agency. Leta 2017 je stopil pean Pressphoto Agency. In 2017 he became a freelance
diaries, as well as on imagination, reality and dreams, all na pot samostojnega fotoreporterja in se vključil v več do- photojournalist and took on a range of documentary photo
of which feel vague and interconnected throughout her kumentarnih fotografskih projektov. Istega leta je bil iz- projects. In the same year he was selected as one of the
life. She uses the metaphor of the “white box” to represent bran za enega od prejemnikov štipendije Permata za recipients of the Permata Photojournalist Grant, and the
a safe place for contemplation. fotoreportažo; prejel je tudi nagrado za fotografsko photo story he produced as part of that program also re-
zgodbo, ki jo je ustvaril v okviru programa. Trenutno preži- ceived an award. He currently divides his time between
vlja čas na Sumatri in v Džakarti, kjer pripravlja osebne Sumatra and Jakarta, working on his own projects as well
YOPPY PIETER (born 1984) is a visual storyteller, born and
projekte in dela po naročilu strank. as editorial assignments.
raised in Jakarta. He has attended a number of photogra-
phy workshops, including the World Press Photo Joop
Swart Masterclass in 2019, and he was selected for the
Southeast Asia and Oceania 6x6 Global Talent Program in
2017. He co-founded the Arka Project in 2004 and later
developed Arkademy, which aims to promote the use of
photography as a creative medium for exploring the self,
society and the relationship between the two. His work
has been exhibited at the Jakarta Photo Summit, the 125
Jakarta Biennale, Photography for Tolerance and Diversity
and the Mt Rokko International Photo Festival, and has
also been published in a book called Saujana Sumpu. He
has been featured in the Washington Post, Monocle, Na-
tional Geographic and others. His experiences have also
led him to work with organisations such as Unicef Indone-
sia and the Ikea Foundation.
YUSNI AZIZ (born 1987) is a photographer and writer
based in Jakarta. He completed his postgraduate studies
in Architecture at the Berlage Institute in the Netherlands.
His work mainly focuses on self, people, travel, and urban
and land-related issues and has been published by The
Guardian, DestinAsian Indonesia, PHmuseum, Tempo and
many others. He has also exhibited at Photoville in the
USA and the Wisdom Photo Exhibition at Erasmus Huis,
Jakarta. He is a co-founder of Heterogenic, an online pho-
tography platform for Indonesian storytellers.
VIDENJE 20/20: Skupnost | VISION 20/20: Community
Sodobna indonezijska družbeno zavzeta fotografija | Contemporary Indonesian Engaged Photography

FOTOGRAFSKA RAZSTAVA / PHOTOGRAPHIC EXHIBITION

Galerija Jakopič / Jakopič Gallery: 17. 3.−31. 5. 2020

Muzej in galerije mesta Ljubljane / Museum and Galleries of Ljubljana

Zanje / Represented by: Blaž Peršin, direktor / Director
Galerija Jakopič / Jakopič Gallery
Zanjo / Represented by: Marija Skočir, vodja galerije / Art Gallery Director

Fotografi / Photographers: Adrian Mulya, Aftonun Nuha, Aji Susanto Anom, Albertus Vembrianto,
Aprillio Abdullah Akbar, Azhari Setiawan, Djoyosantyo Joachim, Edy Susanto, Eka Nickmatulhuda,
Fahreza Ahmad, Fajri Azhari, Fauzy Chaniago, Hariandi Hafid, Ismar Patrizki, Malahayati, Michael Eko,
Muhammad Fadli, Muni Moon, Okky Ardya, Rangga Yudhistira, Romi Perbawa, Rosa Panggabean,
Sapta Hudaya, Utami Godjali, Yoppy Pieter, Yusni Aziz, Zulkifli

Kuratorji / Curators: Marija Skočir (MGML, Ljubljana, SI),

Ng Swan Ti (PannaFoto Institute, Jakarta, ID), Saša Kralj (Živi Atelje DK, Zagreb, HR)
Kuratorska in organizacijska pomoč / Curatorial and organisational assistance: Julija Hoda, Lisna Dwi Astuti
Tehnična izvedba / Realisation of the exhibition: O.K.vir, Tehnična služba / Technical service MGML
Oblikovanje / Graphic and exhibition design: Bojan Lazarevič (Agora Proars)
Tisk / Print: O.K.vir, Birografika Bori
Prevodi v slovenščino / Slovenian translations: Marjana Karer, Marija Skočir, Urška Zupan
Prevodi v indonezijščino / Indonesian translations: Okky Ardya
Lektura slovenskih besedil / Slovenian language editing: Katja Paladin
Lektura angleških besedil / English language editing: Cyrille Cartier, Paula Kirby
Odnosi z javnostmi / Public relations: Janja Buzečan
Program za odrasle / Programmes for adults: Janja Rebolj
Pedagoški program / Programmes for youth: Petra Peunik Okorn, Matevž Paternoster, Julija Hoda
VIDENJE 20/20: Skupnost | VISION 20/20: Community
Sodobna indonezijska družbeno zavzeta fotografija | Contemporary Indonesian Engaged Photography

KATALOG RAZSTAVE / EXHIBITION CATALOGUE

Založnik / Published by: Muzej in galerije mesta Ljubljane / Museum and Galleries of Ljubljana
Zanje / Represented by: Blaž Peršin, direktor / Director
Galerija Jakopič / Jakopič Gallery
Zanjo / Represented by: Marija Skočir, vodja galerije / Art Gallery Director

Fotografi / Photographers: Adrian Mulya, Aftonun Nuha, Aji Susanto Anom, Albertus Vembrianto,
Aprillio Abdullah Akbar, Azhari Setiawan, Djoyosantyo Joachim, Edy Susanto, Eka Nickmatulhuda,
Fahreza Ahmad, Fajri Azhari, Fauzy Chaniago, Hariandi Hafid, Ismar Patrizki, Malahayati, Michael Eko,
Muhammad Fadli, Muni Moon, Okky Ardya, Rangga Yudhistira, Romi Perbawa, Rosa Panggabean,
Sapta Hudaya, Utami Godjali, Yoppy Pieter, Yusni Aziz, Zulkifli

Urednica / Editor: Julija Hoda

Besedilo kataloga / Catalogue text: Marija Skočir (MGML, Ljubljana, SI),
Ng Swan Ti (PannaFoto Institute, Jakarta, ID), Saša Kralj (Živi Atelje DK, Zagreb, HR)
Oblikovanje / Graphic design: Bojan Lazarevič (Agora Proars)
Prelom / Layout: Marjan Božič
Prevodi v slovenščino / Slovenian translations: Marjana Karer, Marija Skočir, Urška Zupan
Prevodi v indonezijščino / Indonesian translations: Okky Ardya
Lektura slovenskih besedil / Slovenian language editing: Katja Paladin
Lektura angleških besedil / English language editing: Cyrille Cartier, Paula Kirby
Tisk / Print: R-tisk
Natisnjeno na / Printed on: Tatami White 150 g/mm
Naklada / No. of copies printed: 300

Ljubljana, marec / March 2020

Razstavo so pripravili / Produced by:

Razstavo so omogočili / The exhibition was made possible by: 18 EUR

ISBN 978-961-94952-0-9

9 789619 495209