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Kuswidananto (Jompet)

Kuswidananto (Jompet) was born in 1976 in Yogyakarta. He graduated from the Gadjah Mada University in 1999, holding a diploma in broadcasting. Jompet has participated in many exhibitions in Indonesia and abroad, including the “OK” #2 Video-Art Festival” at the National Gallery, Jakarta (2005); “Move on Asia,” single channel video art exhibition at SBS 1st Floor Atrium, Korea (2004); "Transit, 8 views of Indonesia," new media art exhibition at Umbrella Studio Contemporary Arts, Australia (2003); and the Bandung Video – New Media Art Festival #1 at Rumah Nusantara, Bandung (2002). He has also been involved in various project performances, such as the “Ultraoutput project," sound performances in Yogyakarta, Jakarta, Bandung, and Singapore (2002). For the CP Biennale 2005, Jompet has been supported by: Ugoran Prasad, Warsito, and Andi Senoaji.

The individual is standing face-to-face with the epistemic character of the modern world; accelerating and unending changes that force human beings to pursue the limits which are going further away from their grasp.
Amid the capital production, the individual is the target for operation, a source of passionate energy, a market pulse; this is why we believe in levi's, ronald mcdonald, universe-of-matrix, walks in the malls, mirc.dal.net, who wants to be a millionaire, and other such things.

The movements of time, whether it be through globalization, modernization, and all its mimesis, has propelled the individuals to survive with all their necessities. This is a modus of movement that appear invariably unique at a first glance; all individuals are composing their own practical theories, strategies, and tactics. Theories that become a fortress against the world; whose derivations are found in individual appetites, preferences, hobbies; that as a whole will reflect something believed as identity.

Such individual beliefs have also become another modus of market movement; a unique product, typical, and suggests something imagined by the owner. Then the cycle continues. Fast.

Then if the face of the individual is indeed so bleak, don't the happy faces outside trigger questions? Isn't it a bit worrisome that there's not much that we know about the thoughts and silent dreams of a person who's just passed us by? Or perhaps the questions I'm posing now are bad for my mental health? How does my face look like, when these questions are asked? How can other guess what I'm thinking at the moment, what I desire? Does my face invite questioning?

The other as a mirror and the reflection in the mirror as the other. (Artist's Statement)

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