︎
Rimbawan Gerilya  Ming Wong Heaven Baek Vuth Lyno Simon Soon and Munirah Mansoor Sim Chiyin Yee I-lann Nayoung Jeong Yeoreum Jeong Jason Wee Daejin Choi Tada Hengsapkul Cloud projectFyerool Darma Pio Abad
 


피오 아바드
Fyerool Darma

‹키치멘슈와 수없이 실패한 1963년 마필린도 연합›, 2022
Kitschmensch with many failed 1963 Maphilindo Confederation, 2022

혼합 재료 설치
가변 크기
Mixed media installation
Variable dimensions 



피어룰 달마의 설치작품은 국가주의적으로 깃발을 꽂는 우주비행사를 연상시킨다. 다만 깃발은 하나가 아니라 세 개이다. 각 깃발은 작가가 온라인 플랫폼 레딧에서 찾은 마필린도에 대한 각기 다른 상상이다. ‘팬 아트’ 형식으로 만들어진 깃발은 짧은 기간 동안 존속한 말라야, 필리핀, 인도네시아의 연대에 대한 유토피아적 상상에 기반한다. 이 연대는 1963년 한 달간 유지되다가 인도네시아의 수카르노 대통령의 대결 정책으로 와해되었다. 마필린도는 일반적으로 범말레이 동남아시아 지역주의를 향한 이상적이지만 실패한 꿈으로 인식된다. 피어룰이 선별한 깃발들은 이런 이상을 추구하는 데 필요한 노동을 표현하기 위해 공들여 꿰맸으며 동시대에서 다시 작용하는 역사를 이야기하고 탈역사적 이상주의의 한계를 비판적으로 바라본다. ‘침낭’을 입고 있는 우주비행사는 마치 배낭 여행객을 연상시키며 열대 관광지로 주목받는 동남아시아와의 연관성을 나타낸다. 이런 부조화스러운 융합 속에서 피어룰의 작품은 묻는다. “마필린도의 실패한 꿈을 애석해하며 재상상하는 인터넷 워리어와 열대 지방을 꿈꾸는 배낭 여행객은 얼마나 다른가? 역사와 지역을 동시대적, 국가주의적으로 동원하는 것은 과거로의 단기 관광과 뭐가 다른가?”

Fyerool Darma’s installation recalls an astronaut nationalistically planting a flag, but instead of one flag, he is planting three. Each of the flags is a different imagination of a national representation of Maphilindo that Fyerool found on the online platform Reddit. In this way, each flag is a form of “fan art” based on a utopian imagination of the short-lived solidarity between Malaya, the Philippines, and Indonesia, which officially lasted a month in 1963 and fell apart with Indonesian President Sukarno’s policy of Konfrontasi. Maphilindo is generally viewed as an idealistic, failed dream for a pan-Malayan Southeast Asian regionalism. Fyerool’s selection of flags, which he painstakingly sewed together to manifest the laboring over of this ideal, speaks to the contemporary reworking of history and critically gestures toward the limitations of a posthistorical idealism.

Fyerool’s astronaut is dressed in a “sleeping bag,” an oblique reference to the figure of the backpacker, associated with and attracted to Southeast Asia as a tropical tourist destination. In the dissonance of these conflations, Fyerool’s installation seems to ask — How different is the internet warrior who wistfully reimagines the failed dream of Maphilindo from the backpacker dreaming of the tropics? How are the contemporary and nationalistic mobilizations of history and region any more than touristic jaunts into the past?


The production of this artwork
was supported by




Fyerool Darma continues to live and work in Singapore. His object and material experimentations are based on an extensive visual vocabulary drawn from popular culture, literature, the archives, the Internet and his own life. His work has been presented in group exhibitions such as As the West Slept, Silver Art Projects; Transient Museum of a Thousand Conversation: LIR at ISCP (International Studio and Curatorial Program), both in New York, United States; Lost and found: Imagining new worlds, Institute of Contemporary Arts Singapore (all in 2019) and An Atlas of Mirrors, Singapore Biennale (2016), and his long-term project After Ballads, NUS Museum, Singapore (2017-18). He was Artist-in Residence (1 October 2019 – 28 April 2020) at NTU - Centre of Contemporary Arts where he presented Vivarium (wiifl∞w w/ l4if but t4k£ ø forms, ♥) at the Centre’s Vitrine.




Fyerool Darma, Installation view of Kitschmensch with many failed 1963 Maphilindo Confederation, 2022. Courtesy of the artist.