DARIVISUAL is a dedicated section that compiles articles offering reflective, speculative, and analytical examinations of specific issues in relation to various visual concerns. The section is grounded in the understanding that visual practices and discourses never operate in isolation, but are always intertwined with the social, cultural, political, and historical dynamics that surround them. Accordingly, each contribution to DARIVISUAL seeks to position visual issues as an open discursive field, inviting critical readings and layered interpretations.
In its approach, DARIVISUAL adopts interdisciplinary perspectives, with a primary emphasis on the fields of arts and the humanities. Insights drawn from visual art, film, media studies, philosophy, anthropology, and cultural studies are brought together to enrich the discussion of the issues at hand. Through this framework, DARIVISUAL functions not merely as a space for review, but as an intellectual platform that fosters dialogue and encourages the expansion of critical thought on visuality within contemporary contexts.
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Some notes from Bangsal Menggawe 2019: Museum Dongeng
We sit at the end of the pier. The steady ripple of the waves below us is interrupted only by the occasional scooter buzzing across the nearby Bangsal harbour. It’s…
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I Used to Say, I and Me, Now It’s Us, Now It’s We.
Those bodies of self-representation disappears. They turn into myth inherited from an indirect cultural experience of colonialism, modernism and then was derived as a new culture. …
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Intertidal Bodies in a State of Ebb
Occupies time throughout February 2019, Bangsal Menggawe: Museum of Tales was held in a situation of post-cataclysm after the earthquakes that occurred on Lombok Island last year. Realising that the self is…
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What Is Empowerment?
Stating clearly the definition of ’empowerment’ is the main thing because based on the experiences that we have found, the ideology of the ’empowerment’ becomes so vague because of the…
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Ilda Revealed the Identity of Pemenang
There’s no difference between the ordinary people and the artists? They were equally citizens who inhabited social location. The role of citizens was to raise their dignity of life; the…
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The Meeting between Bujangan Urban and Bujangan Pemenang
Bujangan Urban began to spread hundreds of his colorful sunflowers on the walls of Pemenang. Hadi was the one who negotiated with the owners so that the walls were allowed…
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Gelar Found City Installation
Saling Gitaq (watching each other). That was the name of their footage bank program that finally continued as a regular program on Wahid’s cable TV. Saling Gitaq, which could be…
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Mr. Emy and the Kids of Karang Baru
In Mr. Emy and children of Karang Baru’s action, there was no romanticism about the use of used goods. The sensitivity of the children to that had been sharpened by…
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The Broy and the Relay Baton of Pemenang
The story about how Bangsal had used to be a playground for all people of Pemenang always became a topic of discussion that The Broy heard during his time in…
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Sulung’s Homage to The Motherland, The Landowner
It was simple. The group that managed the local wisdom had a plan to attach the texts from the holy book in the houses of people of their community and…
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When Jatul Discovered The ‘Other’ Archives of Pemenang
In Jatul’s work of archives, the public of archives did not just have a collective tendency, but also awareness of the contribution of culture that was indeed built together like…
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When Ismal Met an Imaginary Straight Line
Ismal built a gate that was placed at the end of Bangsal pier, and another gate in front of the vihara on the hill of Tebango Bolot Village: as two…
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The Companionship Between Jabo and Zakaria
Zakaria and Javo. Their meeting produced a discussion about the action of discourse that imagined that the traditional art, that seemed to be treated like an antique all this time,…
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Asta Met Bangsal Cup
Asta, the monologue actor, got a valuable experience of collaboratively working process that he had done with the theater group before, and this time with ordinary people like himself, by…
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When Nash Met Bangsal
In Bangsal, Nash met the demographic of professions of inhabitants of Bangsal. They were porters, cidomo coachmen, Bangsal traders, and people who walked around the dock. Nash disturbed them. He…
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Eleven Stories from the Southeast – “Prologue”
Surely Pemenang can be formulated as long as the consideration of what we refer to as ‘on equal terms’ should be prioritized. Once again it is not in the realm…
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Art On Senen Border
Although later those productions still had to enter the exclusivity to be recognized as ‘art’, because there had to be a person called ‘artist’ who would frame it with his…
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The Women of Pondok Kaleng
Photography project about women in Pondok Kaleng initiated by Auviar depicted another definition of the women’s role in society in Indonesia. Presumably, there was a notion of the domestic realm…
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The Objectivity of Instinctive Frame
Photography Exhibition by Children from Paseban was a narration or fragment of event and instinctively captured objects through photographic capture. Playing with the medium and having unlimited way to the…
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Art is Research; Research is Art
Akumassa gives priority to an action that encourages the residents to read themselves. The measurement standard of problem object of the residents is not determined by the researcher. Perspective and…
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Paseban Cultural Community
Paseban inhabitants themselves were very familiar with that history. When I asked why the village was named Paseban, let alone parents, even the children could tell you the story, though…
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Grand Theatre Senen
When a person watches movie, he or she looks for a visual experience which is expected to leave an imprint and give us inspiration to explore more to delve its…
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The Loss of Identity; Survival a la Jakarta
Not infrequently I heard a person cynically made a question and a statement at once to me, or maybe the same thing happened to you very often, when you found…