Rimbawan Gerilya
‹달 위의 예식›, 2022
Nikah di Bulan (Wedding on the Moon), 2022
디지털 애니메이션
1분 반복재생
Digital animation
1 min in loop
이 사변적 이미지는 제3세계 미래주의를 시각화하는 게릴야의 디지털 예술 실천으로 확장된다. 그것은 제3세계 역사와 명확하게 결부되는 미래가 아니라 전 세계적으로 자동화와 에너지 자원의 무한 공유가 가능해진 기계에 기반한 미래를 향한 동시대적 열망이다. 작품은 외국, 지역, 현지의 도상학으로부터 얻은 레퍼런스와 문화유산 및 대중문화로부터 얻은 레퍼런스를 조합하는 혁신적인 작업을 통해 미래의 정치 미학을 나타낸다. 장인들이 기술을 통한 대량생산보다는 개별 작품의 개성에 더 시간을 들이는 것과 마찬가지로, 게릴야의 이미지들은 기술적인 과정의 비서구적인 표식으로서 장식을 추구한다. 또한 “세련되지 않은 3D 그래픽”을 강조하여 “다른 세계와 보조를 맞추려는 제3세계의 열망”을 나타낸다.
Commissioned for the exhibition To A Faraway Friend, Rimbawan Gerilya has developed a diplomatic image of the future of ASEAN space travel wherein the moon has become a transit hub for Mars as a colony and tourist destination. An extrapolated vision of what our commercially fueled space race may engender in the future, Gerilya’s image recalls a travel poster that welcomes a foreigner. The 3D-rendered image is based on the iconic Earthrise, one of NASA’s first images of the Earth taken from space in the 1960s, and takes inspiration from the iconography of an Indonesian wedding dress, MIT’s experimental BioSuit TM and the Afronaut suits of Zambia’s first space program (1960 – 1969), a grassroots project set up by grade school teacher Edward Festus Mukuka Nkoloso which was not officially organized by the Zambian state.
This speculative image extends on Gerilya’s digital art practice of visualizing a Third World Futurism—not a future explicitly tied to the history of the Third World, but a contemporary aspiration toward a machine-enabled future in which there is planetary access to automation and unlimited shared energy resources. Gerilya’s work registers the political aesthetics of this future through innovations that assemble references from foreign, regional, and local iconographies and from cultural heritage and popular culture. His images lean into embellishment as a non-Western marker of technological progress, as artisans are able to contribute time to individualization rather than the outsourced mass-production of technology. They also emphasize “unrefined 3D graphics” that, in the artist’s words, speak to “the eagerness of the Third World to keep pace with the rest of the world.”
Rimbawan Gerilya (RG) is a rough translation of "Guerilla Junglist" in Bahasa Indonesia. This pseudonym was chosen by Tri Hartono to always remind him of his roots as a Visual Jockey performing for the underground Drum and Bass music scene in Jakarta. It was there that RG started to feel his visual communication design study had an effect on the public and delved deep into visual experimentation to experience first-hand the impact it has on the audience.
RG has been fascinated by the dynamics between classes and cultures as he himself is the product of a fairly educated working class family with a lot of tensions and often conflicting values. Constantly being in the in-between forces him to be observant and resourceful. These aspects are reflected in his artworks that often have a peculiar aura to them due to his unconventional approach to problem solving and aesthetics.
Rimbawan Gerilya, Nikah di Bulan (Wedding on the Moon), 2022, digital rendering. Courtesy of the artist.