Project 001.
Extrinsic Border
“…there is a third type of line, stranger still, as though something were carrying us away, through our segments but also across our thresholds, towards an unknown destination, neither pre-existent nor foreseeable.” (Deleuze 2002:67)
Extrinsic Border is the first project of Stella & The yellowSUITCASE, representing Áine Belton (Margate-UK) and Mochammad Hasrul Indrabakti (Jakarta-Indonesia).
Departing from the idea of informal greetings, both artists were exploring two forms of experimental collaborative project: “UnDiscover Margate: performative walk Margate/Jakarta street collage installation” and “Koper Identitas”.
Artists in collaboration:
Áine Belton
Mochammad Hasrul Indrabakti
-----------------------------
The process:
Extrinsic Border
“…there is a third type of line, stranger still, as though something were carrying us away, through our segments but also across our thresholds, towards an unknown destination, neither pre-existent nor foreseeable.” (Deleuze 2002:67)
Extrinsic Border is the first project of Stella & The yellowSUITCASE, representing Áine Belton (Margate-UK) and Mochammad Hasrul Indrabakti (Jakarta-Indonesia).
Departing from the idea of informal greetings, both artists were exploring two forms of experimental collaborative project: “UnDiscover Margate: performative walk Margate/Jakarta street collage installation” and “Koper Identitas”.
Artists in collaboration:
Áine Belton
Mochammad Hasrul Indrabakti
-----------------------------
The process:
First Response :
| ine_belton_1st_response.pdf |
| moch_hasrul_1st_response.pdf |
Second Response :
| ine_belton_2nd_response.pdf |
| moch_hasrul_2nd_response.pdf |
Skype Discussion:
After Skype Response :
| ine__belton_after_skype_response.pdf |
| moch_hasrul_after_skype_response.pdf |
------------------------------
Extrinsic Border Finalisation:
Extrinsic Border Finalisation:
“UnDiscover Margate: performative walk Margate/Jakarta street collage installation”
Starting from an arts building, Limbo-Margate to seafront location, Lido-Margate. Áine Belton will act as the tour guide to bring the tourist for a walk with fictional, imaginative, historical stories that linking Margate and Jakarta as the twin location around overlooked area around Margate. This performance will continue in Jakarta on the next day as if the audience has been traveled to Jakarta. Mochammad Hasrul Indrabakti will continue the reverse performance starting from sea front location of Sunda Kelapa port-Jakarta and will end at Museum Fatahillah as an art building in Jakarta.
In Margate, each audience will receives a yellow bag contain ticket, map and postcard as a means to complement the performance with the idea of constructing their imaginative mind of a non-familiar place.As part of the performative walk, audiences were invited to engage with the performance and street collage installation by being present as tourists.
In reverse with Margate, each audience in Jakarta will not receives a complete of additional material as the complementary performance. Rather than becoming the witness, audiences in the end were engaged and merged in becoming “the guide” through mind interpretation of the “traces” of collages from Margate that linking Margate and Jakarta.
Although it seems to be related as their twin location, both artists performance were not being integrated each other’s as it was not circumcised to be an exact narratives plot as their counterpart. But rather suggesting what Marc Auge (1995:79) refer as “palimpsests” – “the scrambled game of identity and relations is ceaselessly rewritten” to identify the correlation of their counterpart.
Through both of these performative walks, audiences' minds were disassembled; their factual personal histories were replaced with an experience that Lyotard describes as "Vesania or 'systematic' madness: The soul is transferred to a quite different standpoint, so to speak, and from it sees all objects differently." (Lyotard 1989:212)
Starting from an arts building, Limbo-Margate to seafront location, Lido-Margate. Áine Belton will act as the tour guide to bring the tourist for a walk with fictional, imaginative, historical stories that linking Margate and Jakarta as the twin location around overlooked area around Margate. This performance will continue in Jakarta on the next day as if the audience has been traveled to Jakarta. Mochammad Hasrul Indrabakti will continue the reverse performance starting from sea front location of Sunda Kelapa port-Jakarta and will end at Museum Fatahillah as an art building in Jakarta.
In Margate, each audience will receives a yellow bag contain ticket, map and postcard as a means to complement the performance with the idea of constructing their imaginative mind of a non-familiar place.As part of the performative walk, audiences were invited to engage with the performance and street collage installation by being present as tourists.
In reverse with Margate, each audience in Jakarta will not receives a complete of additional material as the complementary performance. Rather than becoming the witness, audiences in the end were engaged and merged in becoming “the guide” through mind interpretation of the “traces” of collages from Margate that linking Margate and Jakarta.
Although it seems to be related as their twin location, both artists performance were not being integrated each other’s as it was not circumcised to be an exact narratives plot as their counterpart. But rather suggesting what Marc Auge (1995:79) refer as “palimpsests” – “the scrambled game of identity and relations is ceaselessly rewritten” to identify the correlation of their counterpart.
Through both of these performative walks, audiences' minds were disassembled; their factual personal histories were replaced with an experience that Lyotard describes as "Vesania or 'systematic' madness: The soul is transferred to a quite different standpoint, so to speak, and from it sees all objects differently." (Lyotard 1989:212)
“Koper Identitas”
The second informal greeting will take form of an X-ray projection of both artists’ personal items into two different suitcases, with an audio of both artists’ narrating their personal items in English and Indonesian languages.
This attempt has also revealed their individual secrecy into the eyes of the spectators. It also has triggered the question on how and through which vision would it be perceived by the spectators? As it will be revealed to public, will then be perceived as Bryson (2011:134) stated: “Vision is socialized, and visual reality can be measured and named, as hallucination misrecognition, or ‘visual disturbance’”?
The second informal greeting will take form of an X-ray projection of both artists’ personal items into two different suitcases, with an audio of both artists’ narrating their personal items in English and Indonesian languages.
This attempt has also revealed their individual secrecy into the eyes of the spectators. It also has triggered the question on how and through which vision would it be perceived by the spectators? As it will be revealed to public, will then be perceived as Bryson (2011:134) stated: “Vision is socialized, and visual reality can be measured and named, as hallucination misrecognition, or ‘visual disturbance’”?
