a project curated by Emily Gray
in collaboration with
Borrowing from Edmund Carpenter and Marshall McLuhan regarding auditory space, a new day came sets the premise that a landscape ‘has no point of favoured focus. It’s a sphere without fixed boundaries, space made by the thing itself, not a space containing a thing. It is not a pictorial space, boxed in, but dynamic, always in flux, creating its own dimensions moment by moment.” Encompassing the physical environment and temporal lived experience, a landscape is a story perpetually in the process of construction.
Through an ongoing dialogue with Ackay Deni, Eldwin Pradipta and Panca DZ regarding the landscape of Bandung, three discrete stories have emerged. From the very first recorded description of Bandung in the Bujangga Manik script, which depicts the tale of Sangkuriang, understanding this landscape is to see not only the land, but to see is as a palimpsest, a testimony of those who dwell within it. Focusing our attention within the constellation of the past and present, physical and ephemeral, these narratives are lifted into a momentary entangled suspension. The critical condition regarding the rapid expansion of the city is reflected the attempt to define territory; a perpetuation of cultural practices leads to an environment that becomes an incitement to violence; the rush for progress brings us to a critical condition borne out of a mutability of power and land, people and nature.
Perceiving the landscape of Bandung is to also “carry out an act of remembrance, and remembering is not so much a matter of calling up an internal image, stored in the mind, as of engaging perceptually with an environment that is itself pregnant with the past.” From individual incidents to environmental issues, these three fragments presented by Ackay, Eldwin and Panca may ebb and flow in their prevalence of the everyday, but each etches an indelible path into the landscape of today.