Synchronizing Asian Contemporary Moving Image Art (SACMIA) is initiated in 2019 based on an encounter of Chen Pei Yu (Doris), Angga Cipta (Acip) and Raslene in 2017. They converse about cinema and art, then found out that Taiwan cinema is not only hard to find on the screen of Indonesia but also there are some similarities on topics and issues that being raised by the Indonesian and Taiwan directors. An interesting start point to begin the project.
At first, they had a plan to make the screening of Taiwan and Indonesia movies and have a discussion afterward with the public, but by limited time and resources, they decided to dig and figure out more about Indonesia and Taiwan cinema history first. The objective is not to juxtapose both countries to be twining in cinema history, but to find things that missed out from the big frame and art discourse. The main object to investigate is not just cinema, but they are also focusing on any other kind of moving images, as a form of art that speaks about contemporary and progressivity.
Per Yu Chen (Doris) is graduated from Tainan National University of The Arts. The thesis is combine of digital art and performing arts has become a new vocabulary of contemporary digital art and theater performances. Good at art criticism, photography, digital revision and video creation. She won twice of the Taipei Digital Art Festival Digital Art criticism Award. She was Executive Editor on “Art Critique of Taiwan Magazine” and “Digiarts”. Focus on the theme of video art, film art, cross-cultural art, digital art, animal and plant art, spirituality and nature. She has been working holiday in Australia two years. During her visit to museum, art galleries and studios, she has visited some international artists and has a strong interest in international cultural exchanges.
Angga Cipta (b. 1988, Jakarta, Indonesia) creates illustrations, mixed media artworks, media art and installations. By taking daily life as subject matter while commenting on the everyday aesthetic of middle-class values, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting. As an artist, he saw the consistency of creating artwork is a debt that he should pay to the city where he lives in. His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. In a search for new methods to ‘read the city’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. His works are characterized by the image of citizens' mobility, the turbulence between urban plan and explosion in the number of vehicles, and also gestures that specify the characteristic of a city. Now he focuses on the history of the governance and urban planning of the city of Jakarta since it was known as Batavia.
Raslene (b. 1991, Jakarta, Indonesia) is a part-time video and visual artist based in Jakarta. Mostly, she works with found footage and archives in re-questioning and engaging historical and contemporary moving image-making, individually or under a collaboration. To challenge herself and audiences: montage, re-narrate, and re-produce become her keyword of works.
She likes to time travel in cinema and by working on the research. Any social, cultural, political, to lost archives issues attract her interest.