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During his residency at SAM, Rizki Lazuardi explored the possibility of synthesizing photographic images that range from historical narratives to myths, statistical capitalism and the negated fragment (i.e. images that do not have a clear source or origin). Working at the intersection of artist and curatorial gestures, Rizki’s experiments often function as an instrument to playfully challenge censorship in authoritarian contexts. Over the past five years, he has initiated gestures in several publicly funded institutions such as the Netherlands Institute for Sound and Vision, Indonesian Film Production Company, Arsenal Institute for Film and Video Arts, to name just a few.
In this session, Rizki shared strategies that reflect upon changing notions of image-ownership, filmic-medium, and public domain. He teasingly asks, “can the curator-artist intervene into what constitutes “information” within the contemporary art institution? And more importantly, can I find loopholes for synthesizing images in late stage capitalism?”