Instagram Takeover with Mira Rizki
In addition to her artistic practice, Mira Rizki works for a large company. Since the beginning of the pandemic, collaboration on virtual platforms has increasingly become part of Mira’s daily work routine. From her home office she explores the aesthetic value and artistic possibilities of these new routines. Her interest focuses on the opening of virtual communication spaces and how the constant repetition of these processes can lead to audiovisual distortions and new communication constellations. Through artistic reflection, she questions our current modes of work and puts them in a new light.
With “Ready to Join?”, the first AMAN episode in 2021, Mira Rizki transforms our Instagram channel into a participatory lab. The Bandung-based artist invites the IG followers of @goetheinstitut_bandung to experiment through the repost function of IG stories and thus become part of her work. By sharing the stories, IG followers create their own virtual spaces. At the end of Takeover Week, Mira Rizki presents a video installation that plays with the opening of new “meetings”. She constantly opens new tabs and uses different accounts. From the repetition and superimposition of communication processes, an audiovisual performance emerges that generates the “real” message.
For AMAN (Agenda Seniman) local artists and musicians take over Goethe-Institut Bandungs´ Instagram channel and present current works as well as their everyday life during the COVID-19 pandemic.
Every first Saturday of the month, we present a live session with a studio visit or a jam session followed by a discussion on @goetheinstitut_bandung.
Mira Rizki Kurnia (*1994 Bandung) graduated from Bandung Institute of Technology in 2013 with a major in Intermedia Art Studio. She currently works as an artist, musician, storyboard artist and art educator for children and youth.
As a rising young media artist, her artistic research primarily focuses on experimenting with the interaction between sound and audience/users. Her works address the artistic potential of everyday situations and uses them as a form of criticism. She utilizes a variety of materials and explores different formal and conceptual forms. She is also a member of the situationist music group Guru, which has developed a specific format of interactive musicality. Guru’s performances respond to the situation at hand with spontaneous sound compositions. Sharpening the audience’s perception of the idea of “sound and interaction” is a main objective.
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