DIORAMA is a dedicated platform initiated and launched by Forum Lenteng in 2016 through its akumassa program. The platform focuses on historical artefacts in Indonesia that embody and represent configurations of power. These artefacts are examined and reinterpreted through visual art and media-based approaches.
Through this process, DIORAMA seeks to develop critical modes of reading that contribute to the formation of a coherent framework of ideas and expressive strategies (language) that can serve as a reference for understanding history and its related socio-cultural issues. In doing so, the platform functions as a bridge that reconnects historical artefacts with the public through more critical and context-sensitive perspectives.
The media works and visual productions generated by DIORAMA are conceived as alternative viewpoints that foreground citizens’ perspectives. At the same time, they are positioned as open-access knowledge products, intended to be freely available to the wider public.
The first DIORAMA project, conducted between September and November 2016, involved participants including Albert Rahman Putra (Gubuak Kopi Community, Solok, West Sumatra), Yonri Revolt (Yoikatra Community, Timika, Mimika), as well as Rayhan Pratama, Pingkan Polla, Afifah Melisa, Anggaeni Widhiasih, Dhuha Ramadhani, Ragil Dwi Putra, Ika Yuliana Nasution, Ryani Sisca Pertiwi, and Andreas Meiki.
Over a period of less than two months, the participants carried out research at several sites, including the Diorama of the National History Museum, the National Monument, and a number of archival institutions in Jakarta. The research findings were further developed through a series of discussions, focus group discussions (FGDs), and public lectures with professionals from various disciplines, among them Cecil Mariani, Mahardhika Yudha, Akbar Yumni, Hikmat Budiman, and Irwan Arhmett.
The outcomes of the first DIORAMA project were presented to the public in an exhibition titled “DIORAMA: History Is Fiction,” held at Hall A1, Gudang Sariah Ekosistem, Pancoran Timur, South Jakarta, from 17 to 27 November 2016. The exhibition was curated by Otty Widasari.
Related Articles
-
A Perfect Fiction of the Omniscient Third Person
In the story that She/he told, there is drama. Represented by the movement dimension that portray the reality of real life. There are whimsies and doings of human beings through…
-
The Perspective of Reciprocal Dimension
Through these limitations in this project, the limitations that gives us the chance to create a new narrative with the way of enlargement. With a camera and a telephoto lens,…
-
Disrupting the Narration
Although the visual of the diorama is three dimension that can be seen from many directions, the diversity of spectator views of the diorama are not as rich as it…
-
The Modified Loveliness
Enlargement from the already established mainstream narrative became the target of our framing, AKUMASSA-Diorama team, along with technology that we used which was camera and the possibility of zooming that…
-
Transparent Bridge
Ah! I was reminded of my friend’s experience when he was observing and taking a picture of diorama using a SLR camera with additional feature of tele lens.
-
Vending Machine and Diorama: The Battle Between the New and the Old Product
The result of the creative work does possess risks on the presentation. Argumentation responding to the matter will arise, both positive and negative.
-
Experiencing History: Bodily or Distanced?
This findings come from the enlargement that I do with camera as an performative act becoming way more relevant for me to interpret in terms of seeing Indonesia’s past experience…
Exhibition Documentation: “Diorama: Since History Is Fiction”
