Kelvin Atmadibrata rođen je 1988. u Jakarti, Indonezija. Stvara performanse, crteže i objekte uobličene u instalacije. Imajući na umu minimalistički vokabular, on istražuje queer apstrakciju i transhumanističku fantaziju koje su često među geografski motivirane pop kulturama i narativima videoigara. Kelvin je diplomirao likovnu umjetnost na smjeru Interaktivni mediji na Školi za umjetnost, dizajn i medije na singapurskom tehnološkom sveučilištu Nanyang i od 2010. radi, izlaže i sudjeluje na izložbama i festivalima. Godine 2017. osnovao je Sepersepuluh, galeriju usmjerenu na performanse u Jakarti, Indonezija, a u čijem trenutnom fokusu, od njegova preseljenja u London 2018. godine, je nomadski kustoski, suradnički i istraživački projekt. Nedavno je stekao titulu magistra umjetnosti iz suvremene umjetničke prakse (performansa) na Royal College of Art, London, Ujedinjeno Kraljevstvo i trenutno živi i radi na relaciji London – Jakarta.
Kelvin Atmadibrata, born in Jakarta, Indonesia 1988. Creates performances, drawings and objects compiled as installations. With minimalistic vocabularies in mind, he explores queer abstraction and transhumanist fantasy that are often cross-geographically motivated by pop cultures and video gaming narratives. Kelvin completed his Bachelor of Fine Art majoring in Interactive Media from School of Art, Design and Media in Singapore’s Nanyang Technological University and has been practicing, exhibiting and participating in exhibitions and festivals since 2010. In 2017 he established Sepersepuluh, a performance-focused gallery in Jakarta, Indonesia which currently focuses as nomadic curatorial, collaborative and investigational project since he moved to London in 2018. He is a recent Master of Art graduate in Contemporary Art Practice (Performance) from Royal College of Art, London, United Kingdom and currently lives and works between London and Jakarta.
Kelvin Atmadibrata
/command7.text, 2021.
crtež olovkom i rukopis na pronađenim predmetima, triptih fotografija / pencil drawing and handwriting on found objects, triptych of photographs
17,5 x 22,5 x 0,5 cm; 21 x 27,9 cm
Crteži i tekstovi koji su više puta ispisani kurzivnim rukopisom: možemo li biti prijatelji? tiha su molba za interakciju i ljubaznost, također opraštanje sebi i drugima, koji su ponavljajući mentalni osjećaj za koje vjerujem da smo se morali boriti, ne samo kao pojedinci nego i kao zajednica, nacije i rasa u nekoliko proteklih tegobnih godina. Tihi glas, japanski animirani film iz 2016. u režiji Naoko Yamade, govori o tinejdžeru koji se nosi sa svojom traumom; bio je nasilnik i traži oprost od gluhe djevojke koju je psihički i fizički povrijedio. Komunicirajući rukom pisanim porukama na udžbenicima, kao i znakovnim jezikom, naizmjence traže oprost i na kraju prijateljstvo i romantičnu vezu jedno s drugim. Svojim sam istraživanjem minimalističkog jezika preveo animirani narativ u niz objekata koji se postavljaju unutar prostora. Nadam se da ovi predmeti i fotografije, koji se isprva mogu činiti sićušnim, ali u isto vrijeme nagovještavaju tekstualnu molbu za povezivanjem, mogu pozvati publiku u područje propitivanja, samopromišljanja i priliku da utkaju vlastiti odgovor na „prijateljstvo“ i odnos prema bijenalskoj općoj provokaciji propitivanja sreće.
The drawings and texts repeatedly written in cursive handwriting: “can we be friends?” are a silent plea for interaction and kindness, as well as forgiveness to ourselves and others, as well as a recurring mental sentiment that I believe, not only me as an individual but also we as a community, nations and race had to struggle with for the past couple of trubulent years. Silent Voice, a 2016 Japanese animation directed by Naoko Yamada tells the story of a teenager handling his trauma of being a bully and seeking forgiveness from a deaf girl he mentally and physically hurt. By communicating through handwritings on each other's text books as well as through sign language, they in turns, seek forgiveness and eventualy, friendship and romantic relationship with each other. I have translated the narrative-based animation into a series of objects to be installed within a space through my own research of minimalistic language. I hope these objects and photographs, which may seem minute at first but also at the same time hint textual plea of connection, can invite my audience into a realm of questioning and self reflection and represent an opportunity to weave their own response to ‘friendship’ in relation to the biennale’s general provocation in terms of questioning happiness.
- iz izjave umjetnika / from the statement of the artist
