After Ruins
22 February – 22 April 2025
In contemplating the notion of ‘After Ruins’, one may pose the question:
“Aren’t we living in the present, vividly dreaming about tomorrow, or vaguely living in the memory of others?”
This inquiry provokes a deeper examination of how ruins enable us to trace and decode the remains of past cultures, while memory continues to be an oral tradition, shaping narratives that determine how stories are passed down through generations. The expression ‘After Ruins’ crystallizes our efforts to grapple with memory—often fragmented and laden with symbolism—inviting us to reconstruct our collective pasts as monuments of shared experiences.
The act of remembering transcends mere recollection; it is a deliberate engagement with the remnants of our history, compelling us to interrogate not only individual contributions but also the shared canvas of our existence. For decades, the subject of memory has captivated both Eastern and Western scholars, highlighting a significant cultural concern that is far from coincidental. We are, as it seems, traversing a transformative epoch where factors converge, propelling the theme of cultural memory to the forefront of intellectual discourse.
The foundational work of Aleida Assmann and Jan Assmann on cultural memory initiated a dialogue that has since burgeoned into a multifaceted exploration. Cultural memory, a term first coined by Maurice Halbwachs, encapsulates a collective capacity to reconstruct our past. Halbwachs argued that memory serves not to preserve history unchanged but to reconstruct it within the frameworks of contemporary understanding. Thus, while cultural memory embodies a repository of fixed images and knowledge, it simultaneously evolves, reflecting differing contemporary contexts through critical engagement—that be it appropriation, preservation, or transformation.
Cultural memory thus exists in a dual state: the potentiality of the archive, which provides a horizon of accumulated texts and images, and the actuality, where contemporary contexts ascribe new meanings. This coexistence forms the bedrock of how we interact with cultural artifacts and historical narratives.
Guided by Jørgen Johansen’s exploration of “in absentia” and intersemiosis, we begin to perceive memory not merely as a repository but as a vibrant semiotic network in which various signs—whether verbal, visual, or musical—compete and coexist. This dynamic interplay within the semiosphere reflects the essence of culture as something lived and engaged with, rather than a static collection of historical artifacts. Counter to traditional views, the semiosphere thrives as an evolving arena where cultural expressions are constantly under negotiation and reinterpretation.
To further engage with this discourse, we turn to the theories of Yuri Lotman, who conceptualizes the semiosphere as a dynamic space integral to the existence and functioning of languages. Lotman’s imagery—a museum hall housing diverse artifacts and narratives, forever in flux—serves as a metaphor for culture itself (Lotman, 1990). In this space, the myriad codes and meanings foster contrasts and hybrid forms, illustrating how diverse semiotic systems interact and transform cultural narratives. In his model of the semiosphere, Lotman describes a museum hall filled with exhibits in both familiar and unfamiliar languages, underscoring the vivacity and dynamism of cultural interaction. He notes, “All elements of the semiosphere are in dynamic, not static, correlations whose terms are constantly changing” (Lotman, 1990). This dynamic quality emphasizes that memory and culture are not fixed entities; rather, they are fluid processes shaped by time and context.
As we curate this exhibition, we embrace a personal and tactile approach that acknowledges the passage of time since the inaugural event. In the two years that have unfolded, ideas have proliferated and voices have multiplied, with ‘RUINS’ emerging as both a trigger and an invitation to encounter myriad possibilities. The collaborative framework between Nonfrasa and Desa serves as a case study of unlearning and detaching from our experiences, encouraging us to view our collective journey not on a blank canvas but as one laden with rich, textured layers.
Vilém Flusser’s assertion that “We shall survive in the memory of others” encapsulates the notion of human legacy, emphasizing that our existence is deeply intertwined with collective memory (Flusser, 1998). This sentiment propels us to contemplate how our narratives and identities transcend personal boundaries, aspiring toward an enduring impact on future generations. The interplay between individual and culture reflects a form of immortality achieved through shared stories and relationships.
At this juncture, we delve into the duality of preparation and decision-making, pondering whether we can transform these fragmented elements into substantial entities—the monumental. Memory serves as a critical axis around which our discussion revolves. As we engage with various artistic forms and cultural sensitivities, we illuminate the connections that intertwine memory with absence, crafting narratives that resonate within the broader fabric of society. Through this exhibition, we interrogate the framework of our existence, recognizing that even in the remnants of what once was, new meanings are continually birthed, evolving alongside our understanding of the past. The interplay between memory and cultural creation underscores the nuances of our shared humanity, offering a poignant reminder that we, too, are part of an ongoing narrative of existence in flux.
After Ruins
Artists
Augusta V. Richardson
Gian Manik
Herru Yoga
Jen Berean & James Carey
Kadek Armika
Katie Wularni
Mahendra Yasa
Nyoman Darmawan
Oscar Perry
Pande Wardina with Putu Septa
Wahyu Nugo
