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關於
Name: Mochammad Sigit Ramadhan
Place, D.O.B: Bandung, 8 April 1989
Address: Jl. Adipati Kertamanah Dalam X no.193, Baleendah, Bandung
Contact: 0821 2929 0761
Education:
2007 – 2011 Art Education Programme, Indonesia University of Education
2013 – 2015 Art Master Programme, Bandung Institute of Technology
e-Mail: sigitramadhan@live.com
portfolio: sigitrmdhn.blogspot.com
Art Exhibitions
2008
When Colour Speak 07. Gedung PKM UPI, Bandung
2009
Gararaya Mini Art Exhibition. Galeri Hijrah, Rumah Proses, Bandung
Ram-Art Exhibition. Studio Jeihan, Bandung
2010
Festival Seni Grafis HI GRAPHER!!! Jogja National Museum, Yogyakarta
PHOX Cellphone Photography Exhibition. Galeri Kita, Bandung
ALTER MEDIA- DJAMOE#4. Jurusan Pendidikan Seni Rupa UPI, Bandung
Draw Ink The Dark. Jurusan Pendidikan Seni Rupa UPI, Bandung
2011
Dhuarr Cteeer. Gelar Karya Seni Grafis. Universitas Negeri Jakarta, Jakarta
2012
Bandung Contemporary Art Award #02. (best 25 artworks) Lawangwangi Art & Science Estate, Bandung
Trienal Seni Grafis Indonesia IV (Finalis). Bentara Budaya Jakarta, Jakarta
Start Light Exhibition. Galeri Kita, Bandung
2013
Fatamorgana ; Re-Interpretasi Imaji. Griya Seni Popo Iskandar, Bandung
Dagingtumbuh Postcard Revolution #3 Exhibition. Dia.Lo.Gue Artspace, Jakarta
Artspace Festival Indonesia Youth Conference 2013. Upperroom Wisma Nusantara, Jakarta
[Non]-Expression Visual Art Exhibition, Taman Budaya Jawa Tengah, Surakarta
2014
High-Light Exhibition, Hajat Seni Rupa 2014. Gedung PKM UPI, Bandung
Animalia. Workshop exhibition with Jauhari Said. Galeri Soemardja, Bandung
The Show Mask Go On, Gunungan International Mask & Puppet Festival 2014.
Exhibition Hall Bale Pare Kotabaru Parahyangan, Padalarang
United Kiaracondong. Ruang Depan s.14, Bandung
Reflexive transmission of bla bla bla…, Galeri Hidayat, Bandung
Kompleks Karya Raya, Pasar Seni ITB 2014, Bandung
2015
All The Fancies and All The Dreams … , Lawangwangi Art & Science Estate, Bandung
Pameran Ilustrasi Cerpen KOMPAS 2014, Bentara Budaya, Jakarta
Langkah Kepalang Dekolonisasi. Galeri Nasional Indonesia, Jakarta
Kompetisi Internasional Trienal Seni Grafis Indonesia V (Finalis). Bentara Budaya Jakarta, Jakarta
Rebirth, Sebar Serang Tour 2015 Pena Hitam. Galeri Gerilya, Bandung
2016
Mild Encounter, Boston Gallery, Manila Philippines
SEA+ Triennale 2016, Galeri Nasional Indonesia, Jakarta (as Gerilya Artist Collective)
Art Stage Jakarta 2016, Sheraton Grand Jakarta Gandaria City Hotel, Jakarta (as Gerilya Artist Collective)
2017
Getok Tular 2 Spacing Out, Omnispace, Bandung
Happenstance, Manila House, Manila Philippines
Djamoe #6 Seni Euphoyria, Gedung Amphiteater UPI, Bandung
Omnispace Artist’s Proof:Pembuktianku Project on Art Square-Art Stage Jakarta
2017Sheraton Grand Jakarta Gandaria City Hotel, Jakarta
2018
Ngabandungan Bandung, Temporal, Bandung
Trace & Aura, Stamford School, Bandung
2019
A Series of Mini Exhibitions, Artspace@Helutrans, Yogyakarta
Art Unlimited on Art Jakarta 2019, Jakarta Convention Center, Jakarta
在每⼀個歷史演進中,警察被界定的身份都會隨著朝代所賦予的職責有所不同,藝術家對於「警察」的責權具有深厚的好奇⼼,英⽂展名中《Bhayangkara》取⾃於印尼警察的別名,其名稱為印尼開國元老之⼀Soekarno,在⼀次的演講中提到「印尼所代表的公家單位警察,必須秉持著當年在 滿者伯夷王朝時期,國王⾝旁的誓死效忠的皇家護衛隊精神,並且在執法時,也須將此精神延續其 中」。《Bhayangkara》在滿者伯夷時期為代表特別效忠國王的皇家護衛隊,但在今⽇的印尼《Bhayangkara》則是代表維護公共秩序和安全的執法單位,藝術家根據過去歷史及現今《Bhayangkara》的職責權⼒及任務的差異來探討,為何還要以《Bhayangkara》的意義來延續作為警察的代表名稱。
在本次展覽中,藝術家透過自己的主觀解釋來探尋《Bhayangkara》的⾝份,並根據社會對於「警察」的看法,來解釋在世界上許多地區已成為⼀種現象,不僅在印尼,並在其他國家(尤其特別發生在亞洲)都遭遇到同樣的問題,在示威者走上街頭表達訴求或著是抗議政府的不公不義之時,時常會發⽣警⺠衝突,到後期演變為警察鎮壓示威者。藝術家也在本次展覽中探討著「警察是否淪為統治者鞏固政權的工具」,這也是全世界需要重視的社會問題,為何⼀個執法單位會引發與社會之間的緊張關係。
藝術家⼤多都以木刻版畫做為藝術表現,木刻版畫在歷史上⽤為傳達訊息的媒介,並影響大眾對於社會以及政治的看法,藝術家並運⽤鮮明的視覺風格將版畫作為⼀個藝術傳達媒介,持續著與觀看者溝通對話。
Sigit’s (b.1989) deep curiosity about the police identity encourage him to go deeper through their historical path. This exhibition title, Bhayangkara, was taken from the other name of Indonesian National Police Force. The name Bhayangkara is a recommendation from one of Indonesia’s founding fathers Soekarno, in one of his speech he mentioned that the National Police Force must take the spirit of Bhayangkara who were a loyal guardian army of the king in Majapahit Empire era (13th century) and also reflect Bhayangkara as the ‘way of life’ when they are on duty. Bhayangkara in Majapahit Empire were a special forces who guards the king with all of his interests. While Bhayangkara in Indonesia today were the law enforcement unit that have responsibility to maintain public order and security. According to that fundamental differences about task orientation and authority within the past and nowadays, the relevances of Bhayangkara concept are need to be reviewed. Why it is still used?
In this exhibition, Sigit tried to trace back the identity of Bhayangkara through the subjective interpretation of an artist, based on the perspective of the society which has become a phenomenon in several parts of the world towards the institution that are now being highlighted. Not only in Indonesia, it become one of the critical issues that is also happening in several countries, especially in Asia. In this late situation, repressive actions often come up when they escorting the society express their aspirations; there is a tendency from this institution to become a tool to secure the ruling authority. This exhibition can be a representation of one of the sociopolitical problems that is happening now, to be a critic of the tension that occurs between one of the law enforcement institutions and the society.
To accommodate his idea, Sigit mostly use woodcut printmaking technique that historically used as a propaganda medium to influence the audience’s perception on social and political issues. With a distinctive visual character, he made a printmaking as an art medium to communicate simultaneously with a large number of people.