Instagram story viewer> @c.on.temporary> Posts
C ON TEMPORARY(@c.on.temporary)'s profile avatar HD Profile

C ON TEMPORARY

@c.on.temporary

3K
followers
293
following
π™²π™»π™Ύπš‚π™΄π™³ πš„π™½πšƒπ™Έπ™» π™½π™΄πš‡πšƒ π™Ώπšπ™΄πš‚π™΄π™½πšƒπ™°πšƒπ™Έπ™Ύπ™½
Ξ΅('ο½‘β€’αŽ‘β€’`)っ 🧹ᢻ 𝗓 𐰁
POSTS STORIES REELS
β€’ 𝑨 𝒄𝒂𝒔𝒆 𝒐𝒇 π’•π’˜π’ π’„π’π’π’‡π’Šπ’π’†π’… π‘ͺπ’π’Žπ’Žπ’π’ π‘―π’Šπ’π’ π‘΄π’šπ’π’‚π’” 𝒂𝒏𝒅 𝒕𝒉𝒆 π’†π’™π’‘π’‚π’π’…π’Šπ’π’ˆ π’„π’‚π’ˆπ’†π’” (2025) began where Yuki’s work often does: in patient observation. Two Tiong Mas caged at Pramuka Bird Market, observed closely and drawn in reportage manners. From those studies, he built a combinatorial system of three parts: textured market backgrounds, cages expanding toward the rectangular and the spherical, and the birds’ motion across 12 studies, manually rearranged into 144 drawings. On the wall, it presents itself as a grid: quiet, almost clinical, a chart of containment. But bound into a flipbook, it comes alive as the two birds stir, the cage swells, and contracts, and the reader briefly becomes the keeper who decides when it moves. β€” Tiong Mas / Beo (2026) Flipbook Printed and bound by @werkbound First Edition, limited edition of 100 240 pages, single-colour Riso, two-colour cover Die-cut and stab-bound by hand Available at C ON TEMPORARY until the close of Flock, Flight, Set!, 14 June 2026. by @c.on.temporary
β€’ We come bearing some egg-cellent news πŸ“£ R. Yuki Agriardi’s solo presentation Flock, Fight, Set! is staying a little longer! The display is now on view through 14 June 2026. If you haven’t had the chance to nest in and experience the work, now’s your perch-fect opportunity. κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! Another solo presentation by R. Yuki Agriardi πŸ—“οΈ 25 April – 14 June 2026 Opens daily, closed on Tuesdays and public holidays ⏰ From 1–7 PM πŸ“C ON TEMPORARY, Level 2 Gormeteria, Bandung by @c.on.temporary
R. Yuki Agriardi datang dengan fokusnya sendiri yang spesifik, dimana Ia punya kegelisahan akan bagaimana hubungan manusia dan burung hari ini. Terutama dalam langskap pembangunan kota yang semakin tak ramah. Pengalaman hidupnya yang berada di antara Indonesia dan Inggris turut membentuk cara pandangnya terhadap burung, antara budaya birdkeeping dan birdwatching. Melalui riset lapangan di pasar burung dan ruang kota di Jakarta, Bandung, hingga Denpasar, Yuki membangun pembacaan tentang bagaimana manusia memproduksi relasi dengan alam melalui kebiasaan sehari-hari. Karya-karya Yuki, dengan beragam bentuk, memang menampilkan burung sebagai pemain utama. Seperti drawing diatas kertas, animasi, lukisan, hingga found object yang berkaitan dengan burung. Dalam pameran, kita dapat menerka-nerka bahwa Yuki memikirkan perihal keterhubungan dan kemungkinan hidup berdampingan antara manusia dan spesies nonmanusia. Burung dalam karya Yuki menjadi penanda akan kondisi hari ini. Seperti krisis ekologi, serpihan ingatan akan habitat yang sudah habis, juga mudahnya pengekangan yang diperlihatkan dalam bentuk sangkar. Yuki banyak melakukan pengulangan, memperlihatkan intensitas yang Ia inginkan memang besar, juga penting untuk kita bicarakan. Manusia sering menempatkan alam dalam posisi yang dekat sekaligus terpisah. Hari ini, burung dipelihara, diperdagangkan, dikagumi. Namun pada saat yang sama kehilangan ruang hidupnya akibat aktivitas manusia sendiri. Yuki punya usaha besar untuk merekam hubungan antara penghuni yang sok jagoan, namanya manusia, dengan alam sekitarnya. Bukan hanya perihal burung, namun bagaimana siasat kita hidup berdampingan. Secara keseluruhan, pembicaraan ini membuka pertanyaan tentang bentuk koeksistensi yang mungkin dibangun di masa depan: apakah manusia masih mampu hidup berdampingan dengan spesies lain tanpa mengubah mereka menjadi objek konsumsi, tontonan, atau ingatan saja. Pink Is The New Punk Grong Socius 2026 by @c.on.temporary
β€’ Through his β€œWheel of Method,” weaving autoethnography, speculation, and drawing, Yuki maps Indonesia’s birdkeeping culture, where intimacy and control sit in unsettling proximity. Repetition becomes a record of how memory works; excavated memory takes flight as a way to imagine coexistence beyond the present. A Group of Black Lory (2026) captures this tension: a concertina book that liberates the Calcopsitta atra from the cramped cages of bird markets. Expanded, it sets them free; folded, it carries them anywhere. It’s @ryukiagriardi’s birthday today, wish him a happy one and come see κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! displayed until 4 June! κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! Another solo presentation by R. Yuki Agriardi πŸ—“οΈ 25 April – 4 June 2026 Opens daily, closed on Tuesdays and public holidays ⏰ From 1–7 PM πŸ“C ON TEMPORARY, Level 2 Gormeteria, Bandung by @c.on.temporary
β€’ some of our favourite shots from last Saturday. thank you for joining us at @ryukiagriardi β€˜s opening! κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! logs R. Yuki Agriardi ways of looking at birds and their coexistence with humans within the complex postcolonial landscape of Indonesia. With over 70% of its population projected to live in cities by 2045, rapid urbanisation augurs a warning for wildlife habitats and bird populations. Yuki finds himself nestled between two extremes: Indonesia, home to one of the most intense birdkeeping cultures in the world, and England, where birdwatching is practically a national pastime. The works in this exhibition were developed through a reflective framework he terms the β€œWheel of Method,” a triadic practice weaving together autoethnography, speculation, and drawing. κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! Another solo presentation by R. Yuki Agriardi πŸ—“οΈ 25 April – 4 June 2026 Opens daily, closed on Tuesdays and public holidays ⏰ From 1–7 PM πŸ“C ON TEMPORARY, Level 2 Gormeteria, Bandung by @c.on.temporary
β€’ C ON TEMPORARY welcomes back R. Yuki Agriardi for another solo presentation, reflecting on the development of his practice since his first one with us in 2021. Yuki presents drawings from his PhD research exploring human–bird relationships in postcolonial Indonesia. Through fieldwork in Jakarta, Bandung, and Denpasar, he examines how birds are kept, traded, and displaced, mirroring the process of migration and memory. His practice blends autoethnography, speculation, and drawing to transform personal memories into visual sequences. Through repetition, grids emerge, evoking both cage and liberation, where containment raises questions about resistance, identity, and colonial legacies. R. Yuki Agriardi (b. Bandung, 1984) is an artist and researcher at School of Design, University of Leeds. κœ°ΚŸα΄α΄„α΄‹, ꜰʟΙͺΙ’Κœα΄›, κœ±α΄‡α΄›! Another solo presentation by R. Yuki Agriardi πŸ—“οΈ 25 April – 4 June 2026 Opens Saturday, 25 April 2026 ⏰ From 1–7 PM πŸ“C ON TEMPORARY, Level 2 Gormeteria, Bandung The artist will be present, see you at the opening! by @c.on.temporary
Rasa menyenangkan muncul, melihat tata pajang karya yang menyelinap, menyesuaikan ruang, juga tidak terduga untuk sebuah karya drawing milik Fffffandy. Strange Currencies adalah pameran tunggal terbaru Fffffandy, seorang desainer grafis sekaligus seniman yang kerap menggugah rasa penasaran, membawakan tema sarkas, dan pandangan personal dalam karyanya. Gagasannya berangkat dari kehidupan yang dijalani dalam kondisi sementara yang terus berlangsung. Dalam keadaan seperti ini, bertahan hidup sering kali terjadi melalui negosiasi terus-menerus, tidak karena sepenuhnya bebas, tetapi karena situasi yang terasa mengekang. Secara umum, manusia punya rumah, ada alamat tinggal, yang dibentuk menjadi sebuah ketetapan. Namun tak semua, bagi Fffffandy, pengalaman perpindahan setelah kerusuhan 1998 di Indonesia mengubah pemahaman tersebut. Setelah tinggal di luar negeri dan kemudian kembali, rumah tidak lagi dipahami sebagai tujuan yang stabil atau pencapaian yang diperoleh melalui kepemilikan. Menjadi sebuah lika-liku yang adaptif dan penuh sementara. Rasa ini tertuang pada karya drawing, objek furnitur, dan pendekatan yang dilakukan pada penataan karya. Terasa ringkih, hanya ditempatkan, juga ketidaknyamanan. Logika yang sama terlihat pada furnitur seperti kursi yang dirancang hampir tidak berfungsi sepenuhnya, sehingga tubuh yang menggunakannya tetap berada dalam keadaan menyesuaikan diri. Pendekatan artistik yang diterjemahkan dalam bentuk struktur ekspos, adanya plastik pelindung, dan ketidakutuhan, adalah intrepretasi dari negosiasi yang tiada ujung. Dalam Strange Currencies, rumah tidak lagi dipahami sebagai tujuan akhir, melainkan sebagai kondisi yang terus dirakit melalui kompromi kecil yang sering kali tak terlihat. Pink Is The New Punk Grong Socius 2026 by @c.on.temporary
β€’ In κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ±, Fffffandy’s figures β€” especially in his Head Check series β€” register a quiet, sustained fatigue. They do not seek resolution or transcendence; instead, they remain in a condition of carrying on. Formed through cycles of negotiation and compromise, these heads absorb discomfort rather than perform it. Humour appears subtly β€” not as relief, but as a working method, a small internal currency that makes endurance possible. On view until 29 March. Come by and spend time with the works β€” they’re best encountered slowly~ κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± Another solo presentation by Fffffandy πŸ—“οΈ 7 February – 29 March 2026 πŸ• 1–7 PM πŸ“ C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays) by @c.on.temporary
β€’ Some of our favourite snaps from the opening of κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± earlier this month! Building on @fffffandy’s ongoing reflections around home 🏠 β€” as attachment, as ambition, as a structure that both holds and burdens β€” the presentation extends that inquiry into the realm of exchange. What do we accumulate, and at what cost? How do desire and attachment shape the ways we assign value to objects, labour, and even to one another? If home is the first site where we learn what to keep, what to protect, and what to let go of, then κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± asks what happens when those intimate economies spill outward. Thank you to everyone who came, stayed πŸͺ‘, and moved through these questions with us. __ On view until 29 March. Drop by, take your time, linger a little β€” and maybe leave with something that stays with you. κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± Another solo presentation by Fffffandy πŸ—“οΈ 7 February – 29 March 2026 πŸ• 1–7 PM πŸ“ C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays) by @c.on.temporary
It's been a while visiting this gallery, an exhibition "strange currencies" by fffffandy is running until the end of March by @c.on.temporary
πŸ›‹οΈ In Fffffandy’s furniture, domestic objects operate as carriers of habitus and become bodily proxies shaped by use. His chairsβ€”conventionally associated with restβ€”are designed to barely function as furniture: they can be sat on, but never settled into, mirroring a body accustomed to coping rather than relaxing as comfort is deliberately withheld. In several drawings, chairs also appear misaligned or obstructive, operating less as supports than as provisional structures, recording how endurance is learned through repeated use. κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± Another solo presentation by Fffffandy πŸ—“οΈ 7 February – 29 March 2026 πŸ• 1–7 PM πŸ“ C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays) Slide 1 β€” Equal Weight (2026) Slide 4 β€” Familiar Grip (2026) Slide 11 β€” Partial Support #2 (2026) Slide 12 β€” Last Call (2026) Slide 13 β€” Match Making (2026) Slide 14 β€” Partial Support #1 (2026)
Slide 15 β€” Great For Business #3 (2026) 
Slide 16 β€” Couple’s Therapy (2026)

Tap the link in our bio to preview more works. πŸͺ‘ See you
at C ON! by @c.on.temporary
β€’ We’re back with another solo presentation by Fffffandy. πŸ™‚πŸ™‚ Home is the earliest structure we inhabit, shaping how we learn to adapt, endure, and make sense of limitation. Over time, these learned adjustments harden into habit, informing why permanence is so often idealisedβ€”ownership over lease, settlement over mobility, rootedness over movement. Stability promises familiarity: a way of knowing how to be. For Fffffandy, home no longer takes the form of a fixed architecture. Marked by displacement and sustained through temporary arrangements, it emerges instead as an ongoing negotiation. κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± reflects this logic of livingβ€”where staying requires continual trade-offs, and endurance becomes a mode of survival rather than resolution. Join us for the opening next Saturday. κœ±α΄›Κ€α΄€Ι΄Ι’α΄‡ α΄„α΄œΚ€Κ€α΄‡Ι΄α΄„Ιͺα΄‡κœ± πŸ—“οΈ 7 February – 29 March 2026 πŸ“… Opens Saturday, 7 February 2026 πŸ• 1–7 PM πŸ“ C ON TEMPORARY, Level 2 Gormeteria Jl. Pasir Kaliki No. 176, Bandung (Closed on Tuesdays & public holidays) More information will be available via the link in our bio soon. Feel free to tag @c.on.temporary or the artist @fffffandy. We hope to see you soon 🏠 by @c.on.temporary

Download All

Save the photos and videos currently loaded on this page.

0Photos
0Videos
Ready to download 0 / 0

Keep this tab open until your download is ready.
back to up