The 2019 Biennale Jogja XV: Equator #5 will focus on the encounter between Indonesia and the other Countries in Southeast Asia after bringing Indonesia and Brazil together in the previous Biennale Equator #4. Passing through the Pacific Islands, the focus on the countries in Southeast Asia will explore the history and cultural context in forming the regional identity. The idea of archipelago and maritime affairs—Indonesia meets the Pacific—will be part of the closing events for the 2021 Biennale Jogja Equator.

Why Southeast Asia?

Southeast Asia as a Perspective for History and Identity

Bearing in mind the critical time and situation, the notion to explore the Pacific regions as a partner area in this event seems to be a very complex challenge. Further, with a limited knowledge on the Pacific regions, an attempt to obtain a clear map in a brief period seems to be overwhelming and not productive. The said notion is indeed interesting, however, is it necessary to realize such notion in the form of exhibition like that of Biennale tradition? It may perhaps be realized in other forms of event.

The available option is to discern Southeast Asia along with several other regions as potential partners. The idea of holding an exhibition focusing on Southeast Asia does sound like a cliché as such an event has been continuously conducted. Regardless, it encourages us to see an alternative, namely the fact that Southeast Asia provides far richer potentials relevant to the global situation. Southeast Asia is not just a geographic region politically known as ASEAN.

During several meetings, there has been awareness to review the interconnectedness between the marginalized group of nations and Southeast Asian society’s history; the complexity of the Silk Road history, Indochina, Malay Dynamics, Religiosity and horizontal conflicts in society, colonialism and post-colonialism situation, etc. By discerning Southeast Asia as a Perspective and a Method of a complex contemporary society, the Equator idea becomes relevant to be positioned as the soul in the reading of geopolitical situation in the area. Southeast Asia has long been seen as a regional concept in global political constellation, which causes the reading appears to be “given” and stereotypical.

The decision to choose Southeast Asia can further be used as means to establish the political positions of new regions which have long been deemed as marginalized areas. Instead of discussing artistic practices in the central area, there is an urge to view other areas such as Makassar, Padang, Kinabalu, Pattani, Bagyo, Dha Nang, and other cities which have long been “buried” under urbanization discourse and development of the megapolitan areas of Southeast Asia such as Jakarta, Bangkok, Manila, and so forth. Biennale Jogja Equator serves as an appropriate platform to employ narration and discourses of history, identity, ecology, etc. relating to the said “marginalized” cities.

Another factor is the meeting of the ASEAN Ministers Responsible for Culture and Arts stipulating Yogyakarta as ASEAN City of Culture of 2019. Throughout the year, many cultural events mainly focusing on the exploration of Southeast Asia reference are scheduled. When synergy between Biennale Jogja and other institutions is established, discourse and issues may be evenly distributed.