FOKUS 1 | Maret 2007

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FOKUS 1 | Maret 2007
Ruang transit di Jakarta
Gustaff H. Iskandar
14 Maret 2007

Pada hari Selasa, 9 September 2003, saya menuju Jakarta untuk terlibat dalam sebuah proyek yang digagas oleh ruangrupa. Sekelompok seniman diminta untuk tinggal di rumah susun dan apartemen selama kurang lebih satu bulan penuh. Berikut ini adalah beberapa catatan yang saya susun selama proyek ini berlangsung.

 
SAYA TIBA di Jakarta, kira-kira pukul sebelas siang. Seperti biasa, begitu kereta berhenti biasanya para penumpang langsung berduyun-duyun keluar dari gerbong kereta. Perjalanan dari Bandung yang memakan waktu lebih dari tiga jam sepertinya menjadi alasan yang cukup bagi orang-orang ini untuk segera bergegas keluar dan bersentuhan dengan suasana rutin di Stasiun Gambir, sebelum akhirnya mereka semua menghilang entah ke mana. Saya berhenti sejenak di dekat pemberhentian taksi, menyalakan sebatang rokok untuk mendapatkan sedikit jeda. Satu persatu saya perhatikan orang-orang mulai pergi meninggalkan stasiun. Pada saat yang hampir bersamaan, sekelompok orang tiba di stasiun ini dengan ekspresi yang nyaris serupa. Begitu datang, langsung pergi lagi entah ke mana.

Kedatangan dan kepergian, tampaknya ini adalah sebuah prosesi rutin untuk sebuah kota seperti Jakarta. Hampir setiap saat orang-orang datang dan pergi, berpindah dari satu tempat ke tempat lainnya. Memenuhi stasiun, jalan-jalan raya, terminal, mall, gedung-gedung tinggi, sampai rumah-rumah kecil di pojokan kota. Mereka muncul berduyun-duyun seperti semut, untuk kemudian menghilang dan digantikan oleh gerombolan semut yang lain. Di kota ini sepertinya orang-orang memang senantiasa bergerak, mengisi setiap jengkal tanah, pojok-pojok bangunan, ruas-ruas jalan, dan setiap rumah yang kemudian hanya menjadi tempat persinggahan sementara. Tempat untuk berhenti sejenak, untuk selanjutnya meneruskan perjalanan dan membuat kota ini dapat terus hidup dan berdenyut-denyut, layaknya sebuah organisme yang “bernyawa” dan dapat berkembangbiak.


Ruang transit di Jakarta, sebuah ruang persinggahan sementara yang nyaris permanen. Sebuah teritori imajiner yang menyebar hampir di setiap jengkal tanah Kota Jakarta. Di dalam ruang ini, realitas keseharian senantiasa diisi oleh berbagai macam arus yang mengalir dari satu tempat ke tempat lain. Di Jakarta kita dapat menemui orang-orang yang harus senantiasa bergerak untuk mempertahankan hidupnya. Persis seperti cerita mengenai Bangsa Nomad yang menghabiskan sebagian hidupnya dengan berpindah-pindah agar dapat bertahan hidup. Tidak ada ruang yang benar-benar permanen di sini. Bahkan sebuah kamar tidur pun dapat menjadi ruang persinggahan sementara, sama persis seperti ruang perkantoran, mall, café, metro mini, atau mobil. Ruang transit di Jakarta adalah ruang imajiner yang senantiasa berubah bentuk dari waktu ke waktu. Terkadang begitu intim, namun dapat juga menjadi begitu asing dan penuh dengan suara yang hingar-bingar. Terus terang, hal ini kemudian membuat saya bertanya-tanya, narasi semacam apa yang ada di balik setiap gedung, tembok beton, jalan raya dan setiap pojok ruangan yang ada di kota semacam ini.

Rokok sudah habis. Saya harus melanjutkan perjalanan menuju Tebet, untuk kemudian bertemu dengan beberapa teman di ruangrupa. Di dalam taksi, saya sempatkan untuk membaca kembali catatan yang dikirimkan kepada saya melalui e-mail beberapa hari yang lalu. Selama satu bulan ke depan saya diminta untuk menemani sekelompok seniman untuk bekerja di sebuah lokasi yang spesifik di Kota Jakarta. Satu kelompok akan tinggal di apartemen, sementara kelompok yang lain akan tinggal di rumah susun. Dalam benak saya, proyek ini tentunya akan menjadi semacam investigasi personal yang akan membaca setiap persoalan yang ditemui selama proyek ini berlangsung. Untuk ukuran orang Indonesia hal semacam ini tentu saja bisa dibilang menarik, mengingat kebiasaan untuk menghuni bangunan vertikal sebagai sebuah rumah tinggal masih terhitung sebagai sebuah kebiasaan yang baru. Sebelumnya, kebanyakan orang Indonesia hanya mengenal tempat tinggal yang bernama rumah, yang biasanya tidak dibangun secara bertumpuk-tumpuk.

Ada tujuh orang seniman yang akan berpartisipasi dalam proyek ini. Mereka adalah Arjan van Helmond, Anggun Priambodo, Dimas Jayasrana, Henry Foundation, Reza Afisina, Tomoko Take, dan Teresa Stok. Kami memulai aktifitas kami dengan melakukan serangkaian presentasi dan diskusi yang menggambarkan kebiasaan dari masing-masing peserta. Saling bertukar pengalaman, gagasan, dan beberapa pandangan yang spesifik mengenai proyek ini. Keragaman biografi personal dari masing-masing seniman ini menyiratkan peluang untuk melakukan dialog yang sangat menarik. Salah satunya adalah diskusi kami mengenai konsepsi sebuah rumah. Sebagai sebuah ruang kolektif, rumah kemudian dapat dipahami sebagai sebuah penggalan narasi yang beragam. Tidak hanya sebentuk bangunan beratap yang memiliki beberapa ruang, jendela dan pintu. Rumah adalah sebuah teritori sosial yang juga memiliki relasi dengan ingatan personal, yang pada tingkatan yang lain juga dapat menjadi sebuah ekstensi yang mempengaruhi pola-pola hubungan, imajinasi, dan ekspresi yang bersifat privat maupun kolektif.

Pada hari-hari berikutnya, ke enam seniman ini kemudian mengisi kegiatan mereka dengan melakukan serangkaian aktivitas observasi, pengumpulan dokumen-dokumen, mencatat setiap pengalaman, dan mencoba untuk membangun hubungan dengan penghuni rumah susun dan apartemen. Arjan dan Anggun yang tinggal di rumah susun tampaknya tidak menemui banyak kesulitan untuk berhubungan dengan tetangga mereka yang baru. Hal ini tentu saja dapat dipahami, karena pola hubungan sosial yang ada di rumah susun relatif lebih cair apabila dibandingkan dengan suasana di apartemen. Sepertinya privasi dan rasa aman memang dimaknai secara berbeda di kedua tempat ini. Apabila di rumah susun masalah privat dan rasa aman adalah pola relasi sosial yang didasari oleh konsensus kolektif yang longgar, sementara itu di apartemen, privasi dan rasa aman diterjemahkan melalui serangkaian regulasi dan pembagian teritori yang lumayan ketat. Mungkin kita bisa mendapat penjelasan lebih jauh dari masalah ini dengan meninjau latar belakang kelas sosial dan narasi kolektif yang melatari kehidupan keseharian masyarakat yang tinggal di rumah susun maupun di apartemen.

Dalam proyek ini, masing-masing seniman melakukan proses investigasi dengan pendekatan personal yang beragam. Terkadang ada beberapa titik temu yang memungkinkan mereka untuk melakukan aktifitas secara bersama-sama. Anggun membiarkan proses kerjanya berjalan secara mengalir dan simultan. Ia mengumpulkan tanda-tanda visual sembari sesekali mewawancara para penghuni rumah susun dengan pendekatan yang sangat santai. Sementara itu, Arjan tampaknya berupaya untuk membangun komunikasi secara lebih intim. Tidak hanya sekedar melakukan hubungan secara lisan, ia juga meminta para penghuni rumah susun untuk menggambarkan tempat tinggal masing-masing berdasarkan ingatan dan imajinasi personal mereka diatas secarik kertas. Pada satu kesempatan, ia mengundang anak-anak yang tinggal di rumah susun untuk menggambar bersama. Mereka masing-masing diminta untuk menggambar sebuah rumah. Hasilnya sangat mengesankan, anak-anak ini bukan hanya menggambarkan rumah dengan aneka bentuk dan warna, tetapi juga citraan yang metaforik dan sangat imajinatif.

Para seniman yang bekerja di apartemen rupanya menunjukan respons dan pendekatan yang berbeda. Tomoko memulai proyek ini dengan mewawancarai orang-orang yang ditemui di sekitarnya, dengan pertanyaan sederhana mengenai rumah. Selanjutnya, ia juga mencoba untuk mengumpulkan foto dari orang yang ia wawancarai. Terkadang ia meminta orang-orang ini untuk berfoto dengan benda-benda yang memiliki makna personal bagi mereka. Pada beberapa hasil wawancara yang dikumpulkan oleh para seniman ini, rata-rata para penghuni rumah susun dan apartemen ternyata tidak melihat tempat tinggal mereka sebagai rumah yang akan mereka tinggali selama hidup mereka. Bagi sebagian dari mereka, tampaknya rumah susun dan apartemen adalah sebuah ruang singgah yang diisi dengan berbagai macam harapan dan mimpi-mimpi, mengenai sebuah rumah ideal yang diwakili oleh imajinasi kolektif mereka.

Berbeda dengan Tomoko, Dimas tampaknya lebih senang untuk mengamati suasana perkampungan yang terletak di dekat apartemen. Situasi yang sangat berjarak antara apartemen dengan perkampungan tampaknya mempengaruhi ekspresi kekaryaan Dimas yang muram dan cenderung dingin. Dalam salah satu karyanya, ia membuat sebuah kartu pos dengan gambar lanskap gedung-gedung yang didominasi warna hitam dan putih. Hal ini juga sedikit banyak terasa dalam proses kekaryaan Henry yang memproduksi teks “WE ARE A PART BUT WE ARE APART”, yang didistribusikan di sekitar lingkungan apartemen melalui stiker kecil, t-shirt, dan proyeksi slide yang dilakukan di beberapa tempat di sekitar apartemen. Kehadiran teks ini tentu saja menyiratkan sebuah ironi ketika disandingkan dengan suasana gedung apartemen yang tersekat-sekat dan dirasakan tidak bersahabat.

Reza memutuskan untuk melakukan serangkaian performance pada sesi presentasi proyek. Mengambil latar belakang gedung-gedung, suara musik, dan perlengkapan yang seadanya, ia mengutarakan catatan-catatan personalnya selama berada di apartemen. Untuk saya, apa yang diungkapkan oleh Reza sedikit banyak juga mencerminkan ketegangan, rasa bosan dan kekalutan personal. Ia tampaknya cenderung melihat ruangan di apartemen sebagai sebuah ruang kolektif yang terdiri dari berbagai macam persinggungan yang tidak lepas dari pola pergesekan dan konflik. Bentuk ketegangan yang berbeda dapat kita temui pada seri karya Teresa yang terdiri dari olahan gambar digital yang dicetak di atas kertas foto. Teresa menampilkan citraan gedung-gedung, jalan raya, dan obyek-obyek lain yang ia temui selama tinggal di apartemen sebagai sekumpulan bentuk yang mengambang. Selama hampir satu bulan penuh, ia mengisi kesehariannya dengan melakukan perjalanan dari apartemen menuju tempat-tempat lain di sekitar Kota Jakarta. Dari dalam mobil, baginya setiap ruas jalan, bangunan, dan citraan yang ada di dalam kesehariannya adalah sekumpulan imaji yang berlapis, yang terkadang bersinggungan, saling tumpang tindih dan nyaris serba semrawut.

Dalam beberapa catatan yang saya kumpulkan, realitas keseharian sebagai sebuah index pengalaman yang nyata (lived experience), tentu saja sedikit banyak ikut mempengaruhi pola hubungan dan model kesepakatan sosial yang ada. Bekerja selama hampir satu bulan penuh di sebuah lokasi yang spesifik semacam rumah susun dan apartemen tampaknya mendorong seniman-seniman ini untuk ikut mengakomodasi aspirasi kolektif yang berkembang di tempat mereka masing-masing. Selama proyek ini berlangsung, mereka secara intensif menggali beberapa masalah yang terkait dengan masalah tempat tinggal, berikut beragam persoalan yang melingkupinya. Walaupun kemudian proyek ini tidak merujuk pada satu kesimpulan yang baku, satu hal yang saya rasa menarik untuk dicermati adalah terbacanya sekumpulan biografi personal yang hidup dan hadir di rumah susun dan apartemen. Setiap lekuk gedung, ruas jalan, petak-petak rumah, termasuk setiap ruang di rumah susun dan apartemen adalah sekumpulan narasi yang diisi oleh subyek yang memiliki berbagai ingatan sejarah, lengkap dengan muatan ekspresi yang bersifat personal maupun kolektif.

Sebagai penutup, satu hal yang rasanya menonjol dari proyek ini adalah kecenderungan untuk melakukan pengamatan (surveillance) terhadap wilayah yang selama ini dapat dikatakan senyap dan cenderung dilupakan dalam ranah kajian masyarakat urban Jakarta. Melalui berbagai tawaran yang diungkap oleh para seniman peserta proyek ini, setidaknya intensi untuk membongkar berbagai bentuk narasi yang berada di wilayah extra-territory semacam ini menjadi penting untuk melengkapi pemahaman kita akan realitas kehidupan sehari-hari di belantara ruang urban Jakarta. Untuk itu, proyek ini dapat dikatakan telah berhasil membuka ruang-ruang kemungkinan untuk membaca persoalan keseharian masyarakat Jakarta sebagai sebuah pintu menuju pengetahuan, walaupun jalan untuk membawa persoalan ini menjadi wacana publik merupakan perkara yang masih harus terus diupayakan.

24 November 2003 & 15 Februari 2007

GUSTAFF H. ISKANDAR lahir tahun 1974. Ia lulus pada tahun 1999 dari jurusan Seni Murni, Fakultas Seni Rupa & Desain (FSRD – ITB). Pada tahun 2001, bersama R.E Hartanto dan T. Ismail Reza, ia mendirikan Bandung Center for New Media Arts, sebuah organisasi yang bergerak di bidang penelitian dan pengembangan seni media dan praktik seni mutidisiplin di Indonesia. Pada tahun 2003, ia mendirikan Common Room Networks Foundation (www.commonroom.info), sebuah ruang inisiatif yang kemudian dikelola secara bersama oleh Bandung Center for New Media Arts dan Toko Buku Kecil (Tobucil). Bermitra dengan Reina Wulansari dan beberapa teman di Kota Bandung, saat ini ia aktif berkarya, menjadi kurator pameran, menulis dan menjadi pembicara dalam beberapa acara diskusi dan simposium.

 


Suasana Apartment Taman Rasuna, Kuningan, Jakarta.

 


Suasana Rumah Susun Bendungan Hillir II, Pejompongan, Jakarta.
 

Fotografi oleh Anggun Priambodo, 2003
 


House and Memory, Arjan van Helmond, 2003. Gambar-gambar denah rumah asal para penghuni rumah susun, Debby, Mundia, Nining, Nganti & Erna yang dilakukan selama wawancara bersama Arjan van Helmond.
 


A Place We Call Home, Dimas Jayasrana, 2003. Fotografi dan kartupos.


A Place We Call Home, Dimas Jayasrana, 2003. Fotografi dan kartupos.


 

May you find and meet me here, probably (not) now, Reza Afisina, 2003



We are a part but we are apart, Henry Foundation, 2003. Stiker & Slide Show.
Fotografi koleksi ruangrupa, 2003.


Apartment Project
5 September – 4 Oktober 2003
Proyek berlokasi di Apartemen Taman Rasuna, Kuningan & Rumah Susun Bendungan Hilir II, Pejompongan, Jakarta, Indonesia.
Seniman: Anggun Priambodo, Arjan van Helmond, Reza Afisina, Dimas Jayasrana, Henry Foundation, Teresa Stok, Tomoko Take. Dikelola oleh ruangrupa. Project Officer: Indra Ameng. Konsep: Ade Darmawan, Anggun Priambodo, Hafiz, Henry Foundation, Indra Ameng, Reza Afisina. Fasilitator: Gustaff H. Iskandar, Indra Ameng, Daniella Fitria. Riset & Dokumentasi: Ardi Yunanto, M. Rony Nabawi.


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There are a bunch of other things to do as well but you have to unlock them by doing certain things first (buying the item, getting so many pokedex/eggdex entries, etc.)What Can You Do In Pokefarm?Well, after you register you get an email (on the site, it's shown on the top right) saying you need to go to the lab to pick up your first little egg buddy, and gives you further instructions. Once you hatch the egg you get a shelter pass and can get other eggs or pokemon from the shelter (certain limit each day based on what level pass you have). At this point you can unlock other features of the site.Hatch Pokemon by clicking other's pokemon and getting clicks back, at a certain time after so many clicks your egg will be all broken and you can hatch it. Click on the pokemon egg and then on the private summary there will be an option to hatch the egg, afterwards you can name it if you want.Earn Credits. 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There are a bunch of other things to do as well but you have to unlock them by doing certain things first (buying the item, getting so many pokedex/eggdex entries, etc.)What Can You Do In Pokefarm?Well, after you register you get an email (on the site, it's shown on the top right) saying you need to go to the lab to pick up your first little egg buddy, and gives you further instructions. Once you hatch the egg you get a shelter pass and can get other eggs or pokemon from the shelter (certain limit each day based on what level pass you have). At this point you can unlock other features of the site.Hatch Pokemon by clicking other's pokemon and getting clicks back, at a certain time after so many clicks your egg will be all broken and you can hatch it. Click on the pokemon egg and then on the private summary there will be an option to hatch the egg, afterwards you can name it if you want.Earn Credits. Each time you click someone else's pokemon you earn credits and interaction points, credits are used to buy things in the shop and interaction points allow you to unlock some features of the game. You also earn credits by posting in forums and a ton of other ways, basically everything earns you credits (if a small amount).Daycare: There is a daycare on the site that lets you breed or just raise your pokemon (with no credit charge for taking them back), you only see the common white and green spotted egg unless you buy the spyglass for 50,000 credits in the shop. There is also an unown spyglass but it costs real life money (500 pokegold) hint: pokegold can be found in boxesFarmer's Log: A farmers log is where you record information about your farm to other trainers, like trade info or even just notes for yourself for later dates. Buy it in the shop for 100 credits.PokTech: The poketech is how you keep a friend's list, you can buy this in the shop for 150 Credits.Suitcase: The suitcase is an item to dress up your pokemon. Buy or get accessories when on scour missions (explained next) and put them on your pokemon from the dress up option in it's private summary (other section). The suitcase is available in the shop for 150 credits.Scour mission: Scour missions are how you obtain the summon items for legendary pokemon and other rare items for quests and just for fun. You go to the farm page and click scour areas from the nearby places section and choose pokemon to go on a mission. Each pokemon has a certain nature that dictates which area he or she likes to go to most, (not determined by pokemon type). Send them out longer for more experience and better items (boxes are 8 or 12 hour missions and how you get most of the rare items when you open them).Boxes: Boxes are little chests that hold anything from pecha berries to items that can summon legendary pokemon to you. You can open them or sell them for credits, but I suggest opening them since there is always a chance of a summon and boxes are hard to find in the beginning.Trade: In the same section as scouring on the farm page is trade centre where you trade your pokemon for others. You can search pokemon up for trade that you already have a pokedex entry for, or put yours up to trade for something else.Berry Garden: [To unlock the berry garden you need to buy a zigzagarden tool from the shop for 200 credits] The Berry garden is also in nearby places and is where you grow berries. To sell for credits or to heal your pokemon in the Dream World (explained later) berries can be useful and it's more cost effective to grow a bunch than to just buy them (some berries you only get from scour missions).PokWalker: Buy the pokewalker for 5,000 Credits in the shop and you can use a pokewalker just like the one you may have gotten if you bought heartgold or soulsilver versions. You need to download a program but it's small and works on pretty much any computer. Just sign into the pokewalker when you are on pokefarm, leave it open, and all interactions you make are converted to watts which can be used to hunt for pokemon or items. Other users can also connect to your pokewalker and you each get a free item. When the inventory is full just go to the pokewalker option on your farm page and receive the items or return from the walk and go on another one.Dream World: [Unlocked by getting 5.000 interaction points (found by looking on your trainer card or the stats page)] The dream world is basically playing the actual pokemon games but on pokefarm. You get one of each game set, (leafgreen or firered, pearl or diamond, black or white, etc.) which can't be changed or traded. You start with either leafgreen or firered and work your way through the region collecting badges with a party of up to 7 (if you have 7 no new pokemon can join you).Live Update: There is a page on your farm page that says live update. As it's name implies it is a live update to the site showing you pretty much anything you want to know. It has the event rank and party on the top, friends online, daycare info, who needs clicks returned, how many berries can be collected, level up and evolutions of your pokemon, scour missions, and trade info.Events: Once a week or so there is something called an event for people rookie rank and above (rookie rank is 50 or more pokedex entries). You can win either a pokemon or item or a mystery thing, depending on what that event is. Usually determined by interaction points you can see your rank on your live update page or the event rank link on the upper left corner.Quests: [unlocked by having at least 75 eggdex entries] here are Quests to work on for fun using pokemon riddles and knowledge to complete them. Though they are optional, most people at least do the unown one (if you do that one make sure when you hatch an egg you click the little page on the hatch screen and already have the unown report (50,000 credits in the shop), I didn't and now have to hatch 3 unowns over again). Each Quest gives you a good reward, sometimes an item but also could be a pokemon.Pokemon Tracker: The pokemon tracker is another store item that I couldn't buy for quite awhile since it's price tag is a healthy 100,000 credits. With it you can see what pokemon like what berries, you can move pokemon into different fields, set goals for levels, see when it evolves, etc. Pretty nifty device and I'm glad I spent the money on it.Forum: There is a forum on the site as well where you can find friends, trades, help, or just conversation about pokemon in general. You get credits for each post in it and you can sometimes find helpful advice you didn't even know you needed.My name on there is ''Prof Oakley'' if you wish to PM me on there any questions you have about pokefarm or how to do something on there. 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