As part of the year-long “Maintenance Works” program, Cemeti Institute for Art and Society invited Collective Works for a residency in 2017.

During their two-month stay, Collective Works explored and reimagined the use of Cemeti’s spaces: from the office and entrance house to the gallery and interior garden. Eko Prawoto, the architect of Cemeti Art House, once said, “Architecture is an expression of life, the embodiment of interactions between human activities and its setting.”

Collective Works tested different ways the institute could connect with various communities across Yogyakarta. They worked with volunteer researchers Jorgen Doyle, Hannah Ekin, Fiky Maulana, Yuramia Oksilasari, and program assistant Daud Sihombing. Together, they explored mobile libraries in the Ratmakan river community, the city’s perception through different modes of transport, and public newspaper displays in Ngadinegaran, Cemeti’s neighborhood. Throughout, they asked:

When Cemeti calls itself an ‘Institute for Art and Society,’ how does art connect the “institute” with “society”? Should these encounters happen inside the building, or should the institute be seen as a basecamp? How can the space support this new role? What do artists need to explore society, and how can the institute help share their findings? What materials and activities flow in and out of the building, and how do they engage the audience?

The research led to new initiatives like a public kitchen, re-purposed entrance spaces with new tables, a display structure for artworks, an office extension into the kitchen, and a community newspaper stand in front of Cemeti. These were designed to share knowledge between different groups in the art scene and the broader city community. Some elements were experimental, reflecting the research process itself.

When the new interior was presented in May 2017, Collective Works showcased the new furniture and structures alongside a research-based presentation. This included a large map detailing the issues explored, connections made, and ideas for how the space could be used in the future.

Nature / Alam:
In Javanese tradition, nature is deeply connected to the earth and is part of life’s journey, known as ‘laku’ or ‘nglakoni’. Nature grows quickly in Indonesia, which shapes how people relate to it. Trees are often cut back easily because they regrow quickly. Practical concerns also play a role, such as green areas interfering with power cables, attracting snakes, or issues with overhanging fruit. In Javanese spirituality, buildings facing west are considered uncomfortable and are usually shielded by walls or dense greenery. Rituals and spirits, like pigeons in the garden, are also part of the spiritual landscape.

The Speed of Things / Kecepatan dari segala hal:
While Javanese culture values silence, society is speeding up. There’s more consumption, faster communication, and increasing complexity, leading to greater contrasts in society.

The curb (outer limits) / Tepi jalan (batas luar):
The curb and outer edge of the Art Institute’s property have an interesting story. A narrow alley beside the building, owned by Cemeti, is technically private but often used by the neighbors. While this could be considered trespassing, discussing new uses for the space has been difficult. There was once a wall separating the building from the curb, but it was destroyed by an earthquake. After that, the neighbors slowly began to use the space, “parasitizing” it. It’s intriguing how an earthquake can shake up not just physical structures, but social norms too.

Welcoming Rituals and Signs / Ritual Penyambutan dan Petanda:
– In Jogja, dogs play different roles. Some people love them, some dislike them, and others might even eat them. However, dogs often signal “openness,” indicating that communities with dogs are generally more welcoming to foreigners.
– Traditionally, Sirih leaves were offered to guests as a sign of hospitality. Today, this is usually replaced by water, tea, or coffee. Snack culture is popular at events and openings.
– If you see many scooter helmets, it usually means there are a lot of people around.

Existing mediation systems in society / Sistem meditasi yang ada dalam masyarakat:

– Pos Ronda, a gathering place for local “guards” – Arisan, a social gathering in a community
– The concept of nongkrong (Hanging out) – The concept of ngobrol (Chatting)
– Dimana tempat untuk merokok (Where to smoke)

Standing Still and Points of Attention / Menghubungkan diri, Berdiam diri, dan Mendapat Perhatian:
When waiting at a traffic light, people naturally seek something to focus on. Authorities are aware of this and use the opportunity to place non-commercial ads at intersections. Why is no-one else doing this?

Public Newspaper Reading Stands / Koran dinding di ruang publik:
Jogja is one of the few places where public newspaper reading stands still exist, found in kampungs and along main roads. The Art Institute can use this system to report from and to society, offering a space free from marketing, PR, or commerce. These stands serve as conversation pieces, addressing local issues and reporting on contemporary struggles.

Identity / Identitas:
What is the Art Institute’s current image? How can its new goal to support social change through art connect with its existing reputation? As the institute moves beyond the gallery and develops content “in the field,” it’s crucial to incorporate the street’s language and aesthetics into its work. How do these street influences, popularized by ruangrupa and Visual Jalanan, relate to Cemeti’s identity?

Legality / Legalitas:
Avoid placing a sign perpendicular to the street—it will be taxed. If you put up two large flags for two weeks, expect to pay around 100,000 rupiah. What’s the risk of a non-commercial sign being removed? How do neighboring food stands manage it with their huge signs? It might be wise to understand how bribes work. And what about signs that aren’t just signs, but “art”?

Transfer Knowledge and Practical Production Framework / Transfer pengetahuan dan kerangka produksi praktis:
Where to print? Who’s a good carpenter or blacksmith? How do you get things done? This framework helps artists and workers understand local resources and social codes. It includes practical advice on finding skilled tradespeople and navigating the community. The goal is to create a guide that connects local knowledge with a meaningful introduction to the city, focusing on who can help and how things work.

The Use of Materials and Creating a Higher Standard / Penggunaan Bahan dan Menciptakan Suatu Standar (Yang Lebih Tinggi):
The climate often influences how display materials perform. High-gloss paint can take a long time to dry, and wood and paper can behave unpredictably. Dust, insects, and humidity all affect material behavior. Tracking the performance of different materials can be valuable. By observing how they react, a standard could be developed. For example, thicker paper tends to avoid curling, tape and paper should not be combined, and all forms of fixation should allow for ventilation.

Copyleft / Copyleft:
In Yogya, the lack of copyright enforcement means texts and books can be freely copied. This benefits students and small cultural initiatives, allowing them to build extensive (though technically illegal) collections. There appear to be different standards for local versus foreign content, with varying rules applied depending on the origin of the material.

Reference Library / Perpustakaan Referensi
The reference library is a collection of books and publications that support the art institute’s exhibitions, activities, and research. Artists are asked to suggest books related to their work and the topics they explore. (Illegal) copies of these books may be added to the library. The library will start with no set organization and will develop over time. Books related to current activities may be highlighted as featured material. A special section may include borrowed books from other organizations on current topics, which can also be copied if needed. Digital versions of these books might be made publicly accessible, but there are concerns about copyright and international sharing. Physical copies in a local context are fine, but sharing all files online poses challenges.

Going mobile / Berlaku mobile:
How can a reference library and all the Art Institute’s materials be made mobile? Of course one idea is to create a mobile library. A good example is the mobile library in Ratmakan Kampung. This simple, effective library on wheels helps the community. It offers specialized knowledge, aids in disaster preparedness, and even tracks local blood types. Should a mobile library support the institute or the community? Could it assist existing local projects? One idea is to produce two copies of materials: donate one and keep one in the archive. This way, the library gets input from the community.