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Nama kami Iwang dan Tita, kamu Jakarta, kan? Main yuk!

Farid Rakun
26 September 2010




“The city is not only a language, but also a practice”
—Henri Lefebvre, dalam Writings on Cities, 1996



Ruang pamer Jakarta Punya! sore itu semarak. Pada 3 – 10 Agustus 2010 lalu, ruang pameran baru yang biasanya memamerkan pernak-pernik khas Jakarta untuk mendukung industri kreatif melalui pariwisata itu, dipenuhi rupa-rupa instalasi. Di dinding samping saya, di kiri pintu masuk, tertulis: “Pameran Urban PLAY: when designers playing in their city” [sic] karya Irwan Ahmett dan Tita Salina. Di dalam, tampak tulisan nomor dari kesembilan proyek visual mereka, sejumlah proyeksi di dinding, dan kalimat-kalimat seruan yang badung dalam tulisan tangan. Ruang pameran komersial ini mereka sulap menjadi taman bermain bersama, sebagai miniatur dari gagasan aktivisme kesadaran ruang kota yang telah mereka lakukan selama tiga bulan.

Kesembilan proyek itu terekam dalam deretan video. Salah satu video menampilkan Tita Salina dan Irwan Ahmett yang biasa dipanggil Iwang, sedang berbincang-bincang di sebuah toko bangunan sambil mengarahkan beberapa tukang untuk menyusun ulang tumpukan kayu di depannya menjadi tempat duduk berhadap-hadapan, diapit sebuah meja yang juga tersusun dari tumpukan kayu. Layaknya ruang santai, tumpukan kayu ini terbuka untuk digunakan siapa saja. Sebuah video lain yang berlokasi di Pasar Minggu, Jakarta Selatan, menampilkan payung-payung jingga yang menaungi pedagang kaki lima, diputar-putar bersamaan, sehingga dengan tempo video yang dipercepat, sekawanan payung itu seakan menari-nari.

Seperti kekhasan kedua karya itu, sepasang muda-mudi yang berpameran ini sendiri, Irwan Ahmett (35) dan Tita Salina (37) adalah sebuah kasus penduduk kota yang unik. Bahwa mereka adalah penduduk Jakarta, itu pasti. Namun kota ini rupanya masih terus memohon untuk berkenalan dengan para penghuninya. Irwan dan Tita memang sudah mengenal kotanya, sejauh yang mereka perlu dan ketahui, tetapi apakah itu cukup? Sebagai duet desainer grafis bernama AhmettSalina, mereka sendiri sudah sering menghadirkan pertanyaan berbasis kebahagiaan hidup pribadi yang dihadirkan ke khalayak ramai melalui kampanye-kampanye mereka. Tengok proyek-proyek mereka, Change Yourself (2005) dan Happiness Project (2008). Sekarang, apa yang akan terjadi bila mereka mengajukan rangkaian pertanyaan senada lewat lingkungan kota?

Demi menjawabnya, AhmettSalina memulai proyek ini, yang sebenarnya sudah berjalan sebelum pameran di galeri. Dari Mei sampai Agustus 2010, mereka memamerkan seri karya Urban PLAY ini secara berkala di situs forum Desain Grafis Indonesia (DGI). Pameran ini jadi lebih seperti penutupan sekaligus perayaan dari kesembilan seri karya mereka.

Unggahan karya dalam dokumentasi video itu menunjukkan bahwa ternyata mereka merasa belum cukup puas: mereka harus berkenalan lagi dengan Jakartanya, tanpa berpura-pura mengetahui dengan pasti bahwa akan ada guna yang bisa lahir darinya. Layaknya perkenalan yang baik, proses ini dibiarkan menjadi bentuk terbaiknya justru karena mereka biarkan lanjutan perkenalan ini berujung terbuka. Pengunjung situs bisa menyaksikan akhir setiap karya, namun seperti juga AhmettSalina, mereka tak tahu apa yang akan terjadi pada karya berikutnya.

Perkenalan-kembali dengan Jakarta ini mereka lakukan sambil ‘bermain’. AhmettSalina percaya bahwa sisi nakal dan kekanak-kanakan warga harus dimunculkan kembali bukan saja untuk mengatasi tekanan kota besar, namun juga demi mengeluarkan karakter kota itu sendiri. Mereka percaya bahwa tiap individu yang senang akan menciptakan kehidupan bersama yang lebih baik. Apakah masih ada keraguan akan kepercayaan mereka yang sangat selama ini pada kebahagiaan?


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Maka sebelum mencermati kesembilan karya itu, ada baiknya kita ajukan pertanyaan-pertanyaan demi melacak motif proyek ini. Anda yang tak sabar, silakan klik video-video mereka di samping dan cermati foto-foto karya mereka. Anda yang tabah, teruslah bertanya bersama saya di sini.

Pertanyaan pertama, “Main apa?”. Mereka bermain dengan kotanya sendiri, tanpa melupakan keahlian dan profesi mereka. Tipografi, misalnya, banyak dijadikan permainan dalam seri karya mereka. Proses bermain yang dihadirkan kembali melalui foto dan video, juga disebabkan oleh kesadaran medium dari pekerjaan mereka.

Lalu, “Main di mana?”. Sementara kita tahu Jakarta ini miskin ruang publik, apalagi ruang bermain. ‘Ruang publik’ tersisa hanyalah mal dan jalanan. Jalanan, yang bagi Shiraishi adalah tempat bagi “sejumlah manusia yang saling tidak mengenal, dan karena itu tak terikat oleh hubungan sosial apapun” serta ‘menakutkan’ bagi mereka, kelas menengah dan atas Jakarta. Namun di jalananlah kita diajak bermain oleh AhmettSalina. Pilihan yang dilakukan demi menyadarkan bahwa mungkin ketakutan pemirsa atas jalanan itu tak beralasan.

Jalanan memang bukan mal yang sejuk, bersih, estetis, terkontrol, dan bikin betah. Jalanan itu panas, kotor, dan jelek, tentu. Tetapi dengan membantah bahwa nilai hidup tak hanya bertumpu pada nilai tukar semata, mungkin nilai-nilai lain yang lebih manusiawi dapat hadir dan disadari.

Akhirnya, “Mengapa bermain?”. Konsep bermain sendiri, bisa kita lihat sebagai taktik demi menggiatkan warga kota untuk menyadari hak mereka. Tak perlu terlalu jauh menengok, dari pertengahan abad lalu saja kita dapat dengan mudah melihat bagaimana konsep bermain dapat digunakan secara fleksibel oleh penciptanya. Tengok pencarian fungsional ruang meng-antara Aldo van Eyck yang humanis dalam “urban infill playground” di Belanda. Atau teknik kritis nan playful demi terebutnya kembali kuasa ruang kota ke tangan penghuni lewat strategi psychogeography Situationiste Internationale, sampai intervensi-intervensi populer masa kini dari para pemain papan luncur (skateboard) dan peloncat urban (urban jumpers) yang mempertanyakan arti infrastruktur formal kota dengan menggunakan aksi tubuh dan permainan mereka. Dalam pemetaan inilah karya Urban PLAY milik AhmettSalina seakan meneruskan tongkat estafet perkembangan pandangan ruang kota sebagai arena bermain warganya. Bukan saja untuk masa kini, tapi juga untuk kota Jakarta.

Di sisi lain, permainan sendiri semakin dipercaya untuk menggantikan medium penyampaian ide yang sudah lebih matang seperti buku dan film. Kita pun adalah homo ludens, manusia yang bermain. Dalam kata-kata Michael Fergusson, penemu studio khusus permainan jejaring sosial dan piranti berpindah Ayogo, “Kita belajar lebih baik, bersosialisasi lebih baik, bekerja dengan lebih produktif dan mendapatkan kepuasan yang lebih dari pekerjaan tersebut, ketika kita bermain.”

AhmettSalina yang dewasa, dalam karya ini jadi seperti kanak-kanak dalam bak pasir di taman pendidikan mereka. Mereka justru mengajak kita semua untuk masuk ke dalam bak pasir itu. Siapa tahu jumlah pasir di dalamnya cukup untuk diperluas, masuk ke dalam kelas-kelas di mana pendidikan formal saat ini terjadi: pendidikan yang bertujuan membuat kita semua homogen dan penurut.

Dengan keinginan menyebarkan gagasan itu, mereka memamerkan dokumentasi video karya mereka di situs DGI, dibantu dengan publikasi yang mereka lakukan dari akun jejaring sosial Facebook mereka. Namun pilihan menggunakan ruang maya sebagai tempat pameran ini juga membawa banyak konsekuensi.

Menengok sebentar pada konsepsi Lefebvre, sebuah ruang dibagi menjadi sebuah triad: terasakan (perceived), terpahami (concieved), dan terhidupi (lived). Sebuah dinding dapat terasakan sebagai dinding, terpahami sebagai susunan bata atau beton melalui gambar kerja, dan terhidupi ketika dinding itu dicoret cat semprot atau malah dikencingi seekor anjing. Lefebvre lalu berpendapat, demi terdobraknya kuasa lama terhadap ruang kota maka arena permainan yang paling bisa dimasuki adalah jenis ruang yang terakhir, terhidupi, yang dalam konteks karya AhmettSalina adalah jalanan.

Tetapi sekalipun mereka bermain di jalanan, aksi mereka hanya bisa kita lihat dari video dalam situs DGI tersebut. Kita, sebagai peselancar maya, target utama pemirsa karya mereka, yang tak selalu adalah warga di ruang terhidupi itu sendiri. Dengan membawa permainan mereka di jalanan ke dunia maya, dengan sendirinya mereka mereduksi perkenalan yang sesungguhnya terjadi di ruang terhidupi menjadi rangkuman catatan sebuah perkenalan. Bila tidak hati-hati, catatan itu bisa dianggap sebagai kenyataan itu sendiri oleh penonton karyanya.

Video-video karya AhmettSalina jadi terekspos pada risiko yang lebih besar lagi: kemungkinan untuk terlalu asyik hingga terjerumus dalam anggapan bahwa catatan dan rekaman tersebut lebih penting daripada proses perkenalan-kembali itu sendiri. Apa rasanya bila Anda berkenalan dengan seseorang lalu orang itu malah asyik mencatat setiap perkataan Anda, merekam gerak-gerik Anda dengan kamera Blackberry-nya? Tentu saja jawaban Anda akan berbeda bila Anda termasuk dalam golongan narsistik. Nah, apakah ternyata Jakarta sendiri adalah kota yang narsis?

Untuk menjawabnya, kita hanya dapat merujuk pada seri karya Urban PLAY ini. Seperti layaknya perkenalan, momen-momen pertemuan punya kemungkinan untuk mengandung berbagai makna. Tataplah wajah kekasih Anda sekarang. Bagaimana Anda berkenalan dengannya? Ada berapa jenis momen yang langsung teringat? Momen manis, canggung, lucu, menyebalkan, atau penuh kasih? Seri karya Urban PLAY ini tampaknya mengandung guratan wajah serupa. Mari kita lihat seperti apa rupanya.


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Tipografi dalam Urban PLAY #1: “Blindness Test”.

Urban PLAY #1: “Blindness Test” adalah karya pertama mereka. Menggunakan jeruk, cabai, dan tomat, di Pasar Minggu, Jakarta Selatan, mereka merangkai susunannya hingga membentuk huruf-huruf “P”, “L”, “A” dan “Y”. Pada cabai, misalnya, setampah cabe merah menjadi latar dan sejumlah cabe hijau membentuk huruf. Perbedaan warna dan bentuk antara latar dan huruf tampil layaknya alat uji buta warna.

Di sini, tipografi, sebuah cabang ilmu yang mereka geluti sehari-hari sebagai ‘komunikator visual’, digunakan sebagai dasar permainan mereka. Sayangnya, tipografi di sini hanya diartikan sebatas pembentukan huruf. Elemen paling menarik dari tipografi, yaitu huruf sebagai pembentuk sebuah kata, sampai kata yang selanjutnya membentuk ‘teks’ dalam ruang kota yang lebih besar, tak terjamah.

Namun sebagai tes percobaan ide besar mereka, dalam karya pertama ini AhmettSalina seakan bersalaman dengan Jakarta yang menyodorkan Pasar Minggu sebagai tangannya. “Perkenalkan, Irwan Ahmett dan Tita Salina, komunikator visual. Tangan Anda memiliki tekstur yang bisa dipakai buat membentuk huruf, boleh kami bermain dengannya?” Sederhana. Selesai. Sampai bertemu lagi.




Rancang ulang ruang dalam Urban PLAY #2: “Public Furniture”.

Urban PLAY#2: “Public Furniture. Ini video yang tadi saya lihat di ruang pameran. Bekerjasama dengan para tukang sebuah toko bahan bangunan, AhmettSalina menyusun ulang tumpukan kayu-kayu di sana, sehingga para pejalan kaki bisa duduk di dalam ceruknya, lengkap dengan meja dari kayu-kayu yang sama. Ruang baru ini bahkan mereka lengkapi Wi-Fi agar para kaum urban dapat menghabiskan waktunya berselancar di dunia maya. Susunan tumpukan kayu yang semula hanya tumpukan belaka, kini berubah menjadi tempat nongkrong yang asyik.

Karya kali ini menjamah ruang dan masyarakat yang memakainya. AhmettSalina tidak bertanya tentang merembesnya ruang privat ke ruang publik, namun justru tentang kemungkinan tersembunyi bahwa ruang (yang lebih) publik bisa tercipta di dalam ruang yang sudah dianggap privat, bahkan dari ruang yang bersifat komersial seperti toko bahan bangunan. Mungkin tipe ruang seperti bale-bale rumah Jawa, di mana yang publik dan yang privat diizinkan bertemu dan berdialog, masih kita rindukan dan perlukan di Jakarta ini. Suatu tipe ruang yang sama yang berusaha diciptakan oleh AhmettSalina melalui karya ini. Kali ini mereka memang tidak mendesain sesuatu yang biasanya bertujuan memecahkan masalah, namun membuat karya seni yang melahirkan banyak pertanyaan terbuka, seperti: apakah ruang publik dan ruang privat itu memang memerlukan ruang antara seperti bale-bale rumah Jawa? Tidak akan ada yang bisa menjawab pertanyaan itu secara utuh, semuanya tergantung pada siapa yang merasakan ruang dan kebutuhannya. Namun itulah yang diungkit oleh AhmettSalina. Karena itu, karya ini cukup menampar banyak pihak, terutama mereka yang mengaku sebagai perancang kota dan arsitek, yang jarang mempermasalahkan kemungkinan akan kebutuhan ruang antara di Jakarta ini.

Tubuh kota jelas mengandung berbagai macam potensi untuk mendukung kegiatan penduduknya. Masalahnya, memang sebagian besar potensi ini terselubung oleh pola pikir dan penglihatan kita yang berkacamatakuda. Dengan “Public Furniture”, AhmettSalina melepas sejenak selubung tersebut, mendorong interaksi bukan saja antara diri mereka dengan pengguna kota lain melalui traksaksi ekonomi, namun juga dengan potensi massa yang sulit dihitung jumlahnya. Aktivasi kali ini melampai kemungkinan hubungan yang lebih jauh daripada yang sekadar mengandalkan nilai tukar. Lefebvre boleh bangga dalam kuburnya, dan tebakan saya, begitu pula dengan kota Jakarta, senyumnya mulai terbuka.




Tarian payung dalam Urban PLAY #3: “Dancing Umbrellas”.

Urban PLAY #3: “Dancing Umbrellas”. Ini juga salah satu video yang tadi saya lihat di depan. Di sini, AhmettSalina meminta bantuan para pedagang kaki lima di Pasar Minggu, Jakarta Selatan itu, untuk membuat sebuah koreografi payung menari. Payung-payung peneduh dagangan pasar itu diputar-putar serempak, sehingga dalam rekaman video tampak atas, payung-payung itu bagai menari di tengah keriuhan pasar.

Karya ini menjadi sebuah eksplorasi pereduksian ruang nyata yang seringkali dialami dengan perspektif mata manusia, menjadi sesuatu yang bergerak secara kering melalui medium representasi video. Representasi ini juga tercerabut dari kenyataan manusiawi karena perspektif mata burung yang digunakan. Selain itu, karya ini hanya bisa dilihat oleh penonton video di situs FDGI, hasilnya tak bisa dirasakan langsung oleh para pedagang kaki lima itu. Pencarian yang bisa dibilang murni estetika ini dicapai dengan tempo video yang dipercepat dan melalui komposisi perspektif pengambilan gambar yang terkoreografi.

Karya ini dengan sendirinya memperkuat tingkat eksotisasi yang sering kita lihat pada usaha merekam visual kebanalan yang indah di mata turis. Kebanalan itulah yang menjadi sebuah panggung besar di mana intervensi kreatif dapat dilakukan dengan menggubah realitas berantakan menjadi enak dilihat, lalu dibagikan kembali pada khalayak yang mungkin berpandangan serupa. Perspektif mata burung, atau mata dewa, selain merupakan satu-satunya sudut pandang yang mungkin untuk melihat koreografi itu, serta pilihan medium representasi video, membuat karya ini seakan-akan menggurui penonton dengan membuat para pembuatnya tampak lebih peka atas kesadaran visual yang mungkin bisa diciptakan dari keseharian.




Protes sambil berlari santai dalam Urban PLAY #5: “Monorail Slalom”.

Urban PLAY #4: “Monorail Slalom”. Pada karya ini, mereka mengajak para pelari santai di hari Minggu pagi untuk berlari-lari secara zig-zag melintasi tiang-tiang bekas rencana Monorail di belakang gedung Dewan Perwakilan Rakyat, Jakarta Selatan. Suatu protes bersama atas kemandekan rencana kota yang disamarkan sebagai koreografi olahraga bersama. Karya ini adalah kisah sukses tak sengaja. Partisipasi publik para pejoging pagi Senayan, merupakan improvisasi di tempat. Semula rencana aktivitas olahraga bermakna lebih ini hanya ingin dilakukan oleh Irwan Ahmett dan Tita Salina bersama sejumlah sukarelawan. Ketika mereka melihat para pelari santai itu, mereka lalu mengajak keramaian itu untuk menyemarakkan karya ini. Potensi politis tubuh terejawantahkan dalam representasi video kali ini. Kesementaraan gerak tubuh dijadikan alat aktivisme yang direduksi dalam olahraga. Sebuah protes yang disampaikan dengan tersenyum.







Tita Salina, Astri Indah Afriliani, Damora Sukma Putri, penulis Farid Rakun, dan Irwan Ahmett mengkarate fasilitas publik dalam Urban PLAY #5: “Jakarate”.

Urban PLAY #5: “Jakarate”. Dalam karya ‘Jakarta plus karate’ ini mereka memotret seri barang-barang rusak di jalanan, yang seakan dirusak oleh kekerasan manusia lewat ilmu bela diri. Sebuah protes terhadap buruknya perawatan fisik fasilitas publik kota. Bisa kita lihat bagaimana tiang-tiang rambu yang seakan-akan bengkok karena tendangan seorang warga.

Potensi politisasi tubuh pada “Monorail Slalom”diteruskan lebih jauh di sini, dengan meletakkan tubuh menjadi sebuah alat narasi fiktif yang mengaburkan batas antara protes dan bersenang-senang. Medium utama yang digunakan adalah fotografi. Andai saja tidak dilengkapi dengan keterangan dan dokumentasi video—demi ketaatan pada format template berseri dari rangkaian karya video lain—efek kejutan dan pertanyaan yang dikilik dalam kepala para pemirsa bisa jadi lebih fenomenal. Pembekuan momen, sebagai ilusi khas fotografi, bisa membuat orang sesaat percaya, bahwa tiang-tiang rambu itu benar-benar rusak karena dikarate warga.

Fisik, memang sangat penting dalam suatu perkenalan. Tubuh, selain menjadi penanda, disadari juga sebagai sesuatu yang bermakna banyak. Ketiga karya pertama ini, “Dancing Umbrellas”, “Monorail Slalom”, dan “Jakarate”secara kronologis mendokumentasikan proses berikut. Dari seakan-akan berkata gombal, “Bulu mata hitam kamu cantik kalau sedang bergerak berkedip-kedip” (ganti ‘bulu mata hitam’ menjadi ‘payung jingga kaki lima’). Lalu mulai protes karena merasa memiliki, “Bekas luka rencana tato kamu membentuk sebuah pola, deh. Kapan hilangnya? Atau akhirnya jadi beneran?” (ganti ‘rencana tato’ menjadi ‘rencana kereta gantung’). Sampai akhirnya kita mulai kurang ajar, “Bekas-bekas jerawat kamu bolong-bolong, saya colok-colok, ya?” (ganti ‘jerawat’ dengan ‘kerusakan fisik kota yang terlihat’). Bukankah kekurangajaran menunjukkan sebuah kedekatan yang intim?




Kaos yang berkeringat karena Jakarta dalam Urban PLAY #6: “Sweat Tee”.

Urban PLAY #6: “Sweat Tee”. Karya ini menunjukkan kejelian mereka dalam menggunakan medium yang terpakai secara luas: kaos oblong. Peta wilayah Jakarta berwarna abu-abu disablon bagaikan keringat merembes di dada. ‘Keringat Jakarta’ itu juga ada di kedua ketiak kaos.

Karya ini dapat berbicara sendiri tanpa banyak keterangan. Parameter keberhasilan karya-karya kaos seperti ini memang hanya satu: sambutan pasar. Namun dengan distribusi terbatas dan teknis sablon yang kurang rapi, ide hebat ini, mungkin, sebaik-baiknya hanya akan menjadi sebuah catatan kecil dalam perdebatan tentang hubungan karya dan publik di kemudian hari. Kita tunggu saja bagaimana hasil penjualan kaos ini.

Namun dari karya ini, kita bisa melihat Jakarta sebagai cerminan pribadi kita sendiri. Kita dapat bereaksi lebih terhadap kenalan yang bisa kita hubungkan dengan keadaan kita sendiri. Catatan perubahan yang akhirnya akan kembali mencerminkan diri mereka di atas tubuh kita. Kaos ini bisa memancing obrolan dengan orang yang Anda temui di jalanan. Tatap lagi muka kekasih Anda tadi. Ada perubahan perasaan yang berpengaruh ke dalam fisik Anda? Dada berdebar, tangan berpeluh, atau napas memburu? AhmettSalina menyadari, ketiak dan dada Anda berkeringat karena Jakarta.




Teka-teki kota dalam Urban PLAY #7: “Hidden Messages”.

Urban PLAY #7: “Hidden Messages”adalah permainan pencarian rantai kata-kata pembentuk kalimat yang terbuka bagi semua warga. Kata-kata itu disembunyikan para sukarelawan yang diundang oleh AhmettSalina, di lokasi yang terentang dari halte busway Matraman sampai markas grup musik Slank di Jalan Potlot, Duren Tiga, Jakarta Selatan; dan dari restoran Kamseng Mangga Besar sampai penjual buah keliling di Stasiun Kereta Tanjung Priok. Sedikit catatan tambahan, bahkan Irwan dan Tita pun tak mengetahui lokasi, maupun isi kapsul kata-kata tersebut.

Sebelumnya, mereka hadirkan teka-teki yang harus dipecahkan terlebih dulu di situs DGI. Pemirsa diharapkan cukup aktif dan tertantang untuk mencari kapsul-kapsul ini, lalu mengumumkan hasil temuan mereka di situs DGI. Namun sampai kini, tak ada satu pun orang yang tertantang mencarinya. Penguasaan teknis dan pengalaman dalam bidang pemasaran viral seharusnya berperan penting dalam karya seperti ini. Psikologi permainan, di mana selalu ada konsep “hadiah dan hukuman”, juga perlu difasihi. Orang akan tertantang jika diberi imbalan, apapun bentuknya, bukan semata hanya karena ingin mengikuti permainan ini sendiri, atau karena mencintai Jakarta seperti AhmettSalina. Mungkin permainan petak umpet seperti ini memang baru mengasyikkan ketika dimainkan di ruang nyata, terbukti dari kesuksesan mereka mengulangi permainan ini pada saat pembukaan pameran tadi: tantangan AhmettSalina dapat dijawab penuh dalam waktu kurang dari 2 jam. Permainan ini memang belum saatnya dimainkan di ruang maya dalam bentuk video yang mengharapkan interaksi bolak-balik: dari video, jalanan, lalu ke ruang maya itu lagi.




Oomleo, Fina, dan Dania dalam Urban PLAY #8: “Street Fashion”.

Urban PLAY #8: “Street Fashion”. Karya ini menggunakan berbagai elemen visual kota seperti lampu-lampu LED penghias motor, gelembung sabun mainan anak, dan tanaman-tanaman kebun yang banyak dijual di sisi jalan Jakarta, untuk dijadikan elemen busana urban, dalam artian yang sebenar-benarnya. Dalam mata AhmettSalina, warga Jakarta harusnya tak malu-malu berdandan seperti robot di masa depan, seperti taman menggantung sebagai jawaban atas pemanasan global, atau bahkan menyulap diri mereka sendiri menjadi permainan yang bisa diletuskan dengan mudah. Permainan ini direpresentasikan sebagai foto street fashion yang sedang populer di kalangan kaum urban dunia.

Pemberian makna ulang (reappropriation) adalah strategi yang mereka gunakan kali ini, dan dalam proses ini, konteks memegang peranan yang amat penting. Oomleo, anggota grup musik Goodnight Electric yang didandani sebagai manusia masa depan yang turun ke Jakarta suatu malam, dengan lampu-lampu penghias motornya, mungkin berhasil menjadi karya yang lebih bisa dihargai oleh peminat street fashion yang sadar citra. ‘Citra’ di sini saya artikan sebagai gambaran-gambaran yang terbentuk secara bebas di dalam kepala ketika tersengat sebuah rangsangan. Seorang Oomleo, musisi dari grup musik yang cukup ternama, sama pentingnya dengan gemerlap lampu pilihan, yang bila diramu ke dalam sebuah karya fotografi mampu menawarkan citra yang lebih. Ada sentuhan selebritas, glamorisasi, gemerlap, dan hura-hura yang memabukkan di sini. Namun untuk model-model tak ternama yang disulap jadi mainan gelembung atau taman berjalan, adakah efek buaian serupa? Sepertinya tidak. Jika saja kesadaran akan citra dan konteks dapat dipertahankan pada seri karya ini oleh AhmettSalina, pengaruh maksimum (yang dapat dipakai, entah untuk ditunggangi atau untuk dicemooh oleh mereka) mungkin bisa dicapai.

Pada “Sweat Tee”, Jakarta bisa jadi mempengaruhi tubuh, merembeskan keringat, yang tersablon sebagai Jakarta pada kaos. Pada “Street Fashion” ini, AhmettSalina tak malu-malu lagi mengakui bahwa Jakarta bisa mempengaruhi cara berpakaian baru. Mereka pun berani berbagi dan mengajak warga Jakarta lain.




Tetap bermain, salam dari Tibet dalam Urban PLAY #9: “Keep Playing”.

Urban PLAY #9: “Keep Playing”. Setelah sibuk bermain dengan Jakarta, sayangnya, AhmettSalina justru menutup seri karya ini di Tibet. Mereka kembali pada strategi tipografi dalam karya pertama. Namun yang mereka gunakan justru kaos yang membentuk kalimat perpisahan “Keep Playing” di depan sebuah danau. Sebenarnya, mereka bisa saja tak perlu menuntaskan janji mereka untuk berkarya sebanyak sembilan karya. Proses yang belum tuntas di Jakarta, yang kemudian mereka selesaikan ketika mengadakan perjalanan ke Tibet ini, bukanlah pilihan yang bijaksana. Salam perpisahan ini laksana makanan penutup yang menghancurkan selera yang sudah terbangun susah-payah oleh hidangan-hidangan sebelumnya.

Namun katakanlah, setiap pameran memang perlu bumbu. Karya ini dipublikasikan pada saat pameran berlangsung. Membuat penonton setia karya mereka cukup tergoda untuk melihat akhir proyek ini. Mata Jakarta sendiri seakan terbuka, karena ia ternyata bukan lagi satu-satunya ketertarikan pasangan ini. Mata kita semua juga terbuka atas kemungkinan lanjutan seri karya yang belum dirampungkan ini. Penutup ini bukanlah penyelesaian, namun kunci pembuka bagi pintu-pintu kemungkinan baru di depannya.


* * *


'Cos everybody hates a tourist
Especially one who thinks
it's all such a laugh
Yeah

—Pulp, "Common People", dari album Different Class, 1995


Bersama seluruh proyek perkenalan-kembali ini, AhmettSalina sesungguhnya menyentuh banyak aspek dari hubungan kota, pengguna, serta praktik penciptaan di dalamnya. Aktivitas berlatarbelakang kesadaran ini seharusnya lebih dipikirkan oleh pekerja berlatarbelakang perkotaan.

Namun apakah mereka memang berhasil bila dinilai dalam parameter ini? Perkenalan, baik itu pertama kali atau kesekiankali, merupakan langkah awal menuju sebuah hubungan yang mapan. Perjalanan kampanye yang direncanakan masih akan terus dilanjutkan ke kota-kota lain ini masih jauh. Beberapa orang bahkan berpendapat bahwa perjalanan ini baru saja dimulai. Pihak-pihak yang terlibat dalam proses perkenalan-kembali ini belum sempat melakukan refleksi terhadap pengalaman mereka. Mata turistik mereka, yang menganggap baru semua yang terlihat lalu menyadari potensi indrawi elemen-elemen kota, masih terperangkap dalam histeria kemenarikan visual semata. Kembali ke kekasih Anda tadi, kalau Anda sudah mengenalnya cukup dalam, ia bukanlah lagi sekadar paras untuk dikagumi. Kualitas dan potensi lebih dibalik paras Jakarta ini yang belum digarap lebih oleh AhmettSalina.

Menarik kesimpulan sekarang, memang terlalu cepat. Satu hal yang pasti: masa depan kampanye Urban PLAY ini seharusnya bukan hanya di tangan AhmettSalina dan timnya, namun juga terletak di tangan kita semua; dengan kalian, dan juga saya termasuk di dalamnya. Dalam hal ini kita harus melihat seri karya Urban PLAY bukan sebagai sebuah peletakan standar baru dalam kegiatan kreatif di ruang kota. Namun seri karya ini inspirasional dalam arti yang sesungguh-sungguhnya. ***




Jakarta, September 2010




FARID RAKUN adalah redaktur Karbonjournal.org. Ia lahir di Jakarta pada 1982, ia belajar arsitektur di Fakultas Teknik Universitas Indonesia pada 2000 - 2005. Setelah terjun ke industri konstruksi selama empat tahun dan menjadi tukang gambar di Bali, New Orleans, dan Phnom Penh, ia memutuskan untuk rehat. Saat ini ia menjadi asisten dosen di almamaternya.


 






Suasana pameran "Urban PLAY: when designers playing in their city” [sic]
karya Irwan Ahmett dan Tita Salina di ruang pamer Jakarta Punya!,
Jakarta Selatan pada 3 – 10 Agustus 2010.























Urban PLAY #1: “Blindness Test”, AhmettSalina, 2010.


Urban PLAY #2: “Public Furniture”, AhmettSalina, 2010.


Urban PLAY #3: “Dancing Umbrellas”, AhmettSalina, 2010.


Urban PLAY #4: “Monorail Slalom”, AhmettSalina, 2010.


Urban PLAY #5: “Jakarate”, AhmettSalina, 2010.


Urban PLAY #6: “Sweat Tee”, AhmettSalina, 2010.


Urban PLAY #7: “Hidden Messages”, AhmettSalina, 2010.


Urban PLAY #8: “Street Fashion”, AhmettSalina, 2010.


Urban PLAY #9: “Keep Playing”, AhmettSalina, 2010.


Foto dan video: koleksi AhmettSalina, 2010.



Daftar Pustaka
• Liane Lefaivre & Alexander Tzonis, Aldo van Eyck: Humanist Rebel (Rotterdam: 010 Publishers, 1999).
• Iain Borden, Joe Kerr, Jane Rendell, with Alicia Pivaro (ed), The Unknown City (London: The MIT Press, 2001).
• Iain Borden & Sandy McCreery (ed), Architectural Design Vol. 71 No. 3: New Babylonians (London: John Wiley & Sons, 2001).
• Henri Lefebvre, The Production of Space (Maiden: Blackwell Publishing, 2005).
• Simon Sadler, The Situationist City (Cambridge: The MIT Press, 2001).
• Adam Penenberg, Video Games Modifying Behavior Towards Good dalam Fast Company, 14 Juli 2010. diakses 15 Juli 2010.
• Prodita Sabarini, "Irwan Ahmett and Tita Salina: The playful artist duo" dalam The Jakarta Post, 31 Maret 2010, diakses 15 Juli 2010.
• Hanny Kardinata, "Bermain sebagai ‘Terapi’ dalam Menemukan Kebahagiaan: Wawancara bersama Irwan Ahmett", 29 Juli 2010, diakses 29 Juli 2010.
• Saya Sasaki Shiraishi, Pahlawan-Pahlawan Belia: Keluarga Indonesia dalam Politik (Jakarta: Kepustakaan Populer Gramedia, 2001).





 

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