Experience and reflection in working, interacting, and organizing from art managers’ perspectives
In the absence of a formal work situation and a normal, suitable working space, those who must continue to organize themselves while pursuing their activities face individually unique physical and mental challenges. The line between personal and professional spheres blurs. This makes it more difficult to set priorities. Digital communication and interaction suddenly seem endless. Any uncertainty in relation to work is pushed into the background by such domestic interests as carrying out housework routines and raising children.
In the meantime the classical topics of artistic and cultural work remain constant, particularly behind-the-scenes work. Some of the latent topics frequently discussed by artists are, for example, the imbalance of priorities, the recognition and appreciation of reproductive and intellectual work or creation, and a focus on number-based success, e.g. audience numbers, clicks and comments on social media.
In the midst of the COVID-19 crisis, in which the number of activities in public space has been drastically reduced, artists have had the opportunity to exchange views on the issues outlined above. In this edition of BINGKIS the focus is on art managers, who are normally not in the limelight. What experience have they had in the implementation of ideas and resources? What are their views on issues such as consciousness, ethos, strategies for working, interacting and organization?
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Theodora Agni (independent art manager) is a founding member of Art Space Management (Pengelolaan Ruang Seni), a study group focusing on art management practices and discourses in Yogyakarta. Between 2010 and 2019 she worked at the Cemeti - Institut for Art and Society, during which time she became Residency Manager. She has advanced professionally since 2005 through direct participation in diverse art projects and exhibitions.
Ibrahim Soetomo (art manager and freelance writer) graduated from the Jakarta Arts Institute’s faculty of Fine Arts in 2018. He is currently working as a gallerist in the Komunitas Salihara Arts Center. He is also part of the ruangrupa – Komplotan Jakarta 32°C and of the Bogor Fine Arts Movement (Gerakan Seni Rupa Bogor). In his free time, Ibrahim frequently writes exhibition reviews and is interested in the history of Southeast Asian art.
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