October 6 - November 25, 2023

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“Titen: Embodied Knowledges-Shifting Grounds” is the title chosen to reflect diverse but shared movements around the global south practices and the historical connection to South-to-South trajectories. Borrowed from Javanese language, where the villages reside, and to bring this event closer to the local community, Titen or Niteni in Javanese interpret as an ability or sensitivity to read signs from nature. Titen science is usually used to read natural phenomena before a disaster occurs, or to decide an action needed to respond the nature. Titen science is based on a pattern of repeated observations of nature, so that this pattern will later become a reference for interpreting natural phenomena and to establish a particular scientific narrative from the local belief. Choosing this word has been underlining the curatorial framework on decolonizing knowledge production that operates as a resistance to dominant western methodologies.

Through these two keywords, the Second Round of the Jogja Equator Biennale seeks to continue the shared ideal of being part of the rewriting of world art history and contributing to the decolonization project of art, especially those that focus on re-questioning world geopolitical definitions and frameworks. At the First Round of the Jogja Equator Biennale; the idea of ​​geopolitics and new internationalism clearly refers to a physical area on the map (23 degrees N and 23 degrees S), and has succeeded in gaining attention from various parties regarding the criticism it offers and its interpretation of the map of the new art world. In collaboration with India, Arabia, Nigeria, Brazil, Southeast Asia and the Pacific, the Jogja Biennale succeeded in bringing together hidden historical narratives, as well as looking back at the network of global southern internationalism based on many similarities in landscape, climate, culture, spirituality and impacts. history of colonialism. For the first time, the International Biennale specifically provides a platform for ideas outside Western art, and brings together artists from regions that have not been well connected in artistic internationalism.

Women's Spirit, Trans-National Movement, Collective Spirit, Tradition and Ecology

The works in the exhibition at Yogyakarta Cultural Park show a diverse approach based on the different local contexts of each location where the artists come from. Location politics becomes a way to create a new cartographic imagination that is trans-historical, with a variety of different and mutually enriching experiences. Eastern European artists in this space present many new interpretations of history that show the importance of women's involvement and perspective, including those related to historical events and social transformations and their impact on everyday life.

The Rattan

How do you see women's solidarity in various daily issues that are constructed in socio-economic structures? The artists in the Rattan space explore narratives about women's collective work, expanding work networks, especially in marginalized and rural areas. In village communal life, women's work is often not measurable as economic capital, so their role is invisible and forgotten.

Sekar Mataraman

Local Knowledge, Food Politics, Citizen Resistance and Ecology, Crafts and Arts

Sekar Mataram is a business entity area belonging to Bangunjiwo village, which is located in an agricultural land area, with large stretches of rice fields bordered by hills in the distance. This context provides an opportunity to discuss food politics both through structuralist problems and as an impact of industrialization and food as a result of knowledge and cultural work. Most of the artists in this exhibition (women) specifically give space to domestic knowledge and creation—cooking recipes, bamboo weaving, weaving, natural coloring—from various narratives and events, from Maumere to Wadas.

Madukismo Sugar Factory Food Court

Madukismo Pujasera is located in the same area as the Madukismo Sugar Factory, precisely opposite the lorry parking area and the giant tamarind tree. Heading to this location, visitors will enter the factory atmosphere, with its distinctive aroma and also rows of old trees on either side.

In particular, works in this area discuss the history of sugar factories in the context of Java and Eastern Europe. How the sugar industry cannot be separated from the history of colonialism and the beginning of modernization in Java, and in Eastern Europe itself, the sugar industry grew during the Austrian imperial period with the support of the Soviet Union. In these two contexts, the historical narrative also shows how many sugar factories from the colonial and monastery periods were closed and the sugar trade entered a new era since the mid-2000s. 

Rolling Particles

What are the efforts of Biennale Jogja 17 (BJ17) so that curatorial discourse and the expected achievements—in this case: close to the community—can be realized? It seems that BJ17 is holding a powerful activity to gather residents, namely film screenings. This activation program is called Partykelir. This platform itself has been implemented 5 times in various places. At Partykelir


Bridging Curatorial Ideas Through Exciting Tours

The exhibition venues are spread over 12 points, far from the city center (except Yogyakarta Cultural Park), lack of public transportation facilities, are one of the challenges at Biennale Jogja 17 (BJ17). So, how will BJ17 take action to overcome the risks that have been decided? Anjangsana was born, a curatorial tour program that was directly managed

Atatolong Performance

Guiding, Transplanting Awareness: Notes from a School Visitation Program

"What are the people in Papua fighting for, sis?", a student from Growing 3 Elementary School asked. We who were guiding the tour looked at each other, we were a little confused about how to answer. Yes, we are accompanying children in grades 3-5 of elementary school to see the work "Ai Yo Kamae" by Nelson Natkime. Tuarek Natkime creates half body sculptures


Rolling Particles

What are the efforts of Biennale Jogja 17 (BJ17) so that curatorial discourse and the expected achievements—in this case: close to the community—can be realized? It seems that BJ17 is holding an activity that