Biennale Jogja shows Indonesian and Nigerian art as activism
Indonesia’s most important contemporary art event presents a host of stories in a post-colonial framework
From its beginnings in 1988, the Biennale Jogja in Yogyakarta has punched above its weight to become Indonesia’s most international contemporary art event. And for the past three editions, as well as showcasing a range of Indonesian visual artists, musicians, writers, speakers and community activities, the biennial has taken a sub-theme of linking Yogyakarta with a country that also skirts the equator: in this instance, Nigeria.
Nine Nigerian artists have spent a month residency in Yogyakarta this year, and a group of Indonesian artists will head to the west African country in 2016.
This equatorial connection gives the biennial special depth, allowing it to introduce other cultural stories, particularly within a post-colonial framework. The biennial will continue its relationship with other equatorial countries until 2021, with the next edition highlighting artists from the Pacific.
The Biennale Jogja’s intellectual tone is immediately established with an introductory display about Nigeria, taking a comparative approach pinpointing cultural, political and historic rhythms with Indonesia.
In 1998, both Indonesia and Nigeria were freed of dictatorial governments and entered a new era of freedom
In a library-styled room is an installation of tables, reading chairs and shelves holding a selection of books written by post-colonial contemporary Nigerian and Indonesian writers.
