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hera_sc

@hera_sc

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Mood: 心痛 🩸🩸🩸
adjunct curator, Asia-Pacific @tate supported by @asymmetryartorg

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Every cinema is a vessel. Otonomia Bioskop will be an autonomous cinema and contemporary art centre built inside a kampung in Sembungan, Bantul, Yogyakarta which will present moving images and related media vital to our times. The starting team is composed of Riar Rizaldi and Hera Chan (founders & directors), B.M. Anggana (deputy director), Barry Beagan (architect), Jordan Marzuki (graphic designer), Uji Hahan (land partner), and Nathan Gunawan (builder). On October 1 at Krapela in Jakarta, we opened the hatch and read the instruments together—a first look at the building plans, the identity, and the programme 🚀 slated to open 2028

Image by @krazykosmickid

Starting team 🫶

Barry Beagen / Biro BBBB has been crafting this spaceship

With the graphic identity by Jordan Marzuki (of @jordanjordan.co ) with all land forest images courtesy of @husainalfarizi

Image by @bintang.adamas

Nathan Gunawan introducing @kinosaurusjakarta

With filmmaker Edwin from Kinosaurus, which is Jakarta’s independent microcinema in Kemang, founded in 2015 and run by a group of filmmakers behind Palari Films and cinema enthusiasts, and for a decade the city’s home for arthouse, documentary, and experimental screenings 🎥

Thank you @xandega for bringing the film scores to us by @hera_sc

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Yogyakarta in Indonesia has a lively cinema culture, based around community-organised screenings, but few permanent venues for arthouse films. Artist-filmmaker Riar Rizaldi and curator Hera Chan hope to address that gap with Otonomia Bioskop, an independent cinema and moving-image art centre they plan to open in Sembungan, south of the city, in early 2029. They will present the programme and plans today, ahead of Art Jakarta, with a pre-screening event at Krapela in South Jakarta. ⁠
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The proposed venue would include a 50-to-60-seat indoor cinema, an outdoor screening area, a gallery and a public park. The founders envisage weekly screenings, with room for guest programmers. They will look to bring in films rarely shown in mainstream cinemas.⁠
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Ocula’s Zian Chen (@zianchen7) spoke to founders Rizaldi (@riarrr) and Chan (@hera_sc) about how they will plug the gap between multiplexes and a thriving community arts scene.⁠
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Read this news story in full on Ocula. by @hera_sc

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On show from 30 Oct to 17 Jan, 𝐿𝑖𝑓𝑒 𝐴𝑓𝑡𝑒𝑟 𝐿𝑜𝑣𝑒: 𝐼𝑛 𝑆𝑒𝑎𝑟𝑐ℎ 𝑜𝑓 𝑡ℎ𝑒 𝑀𝑖𝑙𝑖𝑡𝑎𝑛𝑡 𝐼𝑚𝑎𝑔𝑒 surveys how the visual grammar of militancy has shifted across the global uprisings of the past decade. Curated by Hera Chan and Edwin Nasr, the exhibition traces resonances between struggles that have unfolded from Hong Kong to Beirut, and from Yangon to Jenin, bringing together artists, cultural workers and community organisers.

𝐿𝑖𝑓𝑒 𝐴𝑓𝑡𝑒𝑟 𝐿𝑜𝑣𝑒 asks what the changing forms of political struggle reveal about the changing forms of image-making. If the militant image of the twentieth century emerged alongside mass party politics, anti-colonial liberation movements and the project of revolutionary cinema, what becomes of that tradition within a conjuncture shaped by digital platforms, algorithmic circulation and decentralised forms of political organising?

Many of the works emerge from practices situated alongside political organising, mutual aid and community work, where cultural production unfolds in close proximity to lived struggle and the imperative of internationalist solidarity. They invite viewers to consider the militant image in the present tense and the forms through which emancipatory futures become thinkable.

𝐎𝐩𝐞𝐧𝐢𝐧𝐠
30 Oct, 18:00-20:00
▪️Sign up → 🔗 IN BIO

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𝐀𝐫𝐭𝐢𝐬𝐭𝐬
Basel Abbas & Ruanne Abou-Rahme, Haig Aivazian, Isshaq Albarbary, Hannah Black, Nolan Oswald Dennis, Chaw Ei Thein, Giraffe Leung, Yoshua Okón & Juan Obando, Bahar Noorizadeh, Sawangwongse Yawnghwe

@basel.abb @ruanne.ar @tanaaqush_chiselcollectivity @hannah_black___ @data_body @chaweithein @gllh_art @yoshuaokon.studio @juandavidobando @baharnoorizadeh @sawangwongse.yawnghwe

𝐂𝐮𝐫𝐚𝐭𝐨𝐫𝐬
Hera Chan & Edwin Nasr

@hera_sc @upandcommie

𝐒𝐩𝐚𝐭𝐢𝐚𝐥 𝐃𝐞𝐬𝐢𝐠𝐧
Ali T. As’ad

@a_is_for_ox

𝐆𝐫𝐚𝐩𝐡𝐢𝐜 𝐃𝐞𝐬𝐢𝐠𝐧
Farah Fayyad

@farahfayyad

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𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Oranje-Vrijstaatkade 71
Amsterdam

𝐅𝐫𝐞𝐞 𝐞𝐧𝐭𝐫𝐲

𝐹𝑟𝑎𝑚𝑒𝑟 𝐹𝑟𝑎𝑚𝑒𝑑 𝑖𝑠 𝑠𝑢𝑝𝑝𝑜𝑟𝑡𝑒𝑑 𝑏𝑦 𝑀𝑖𝑛𝑖𝑠𝑡𝑟𝑦 𝑜𝑓 𝐸𝑑𝑢𝑐𝑎𝑡𝑖𝑜𝑛, 𝐶𝑢𝑙𝑡𝑢𝑟𝑒 𝑎𝑛𝑑 𝑆𝑐𝑖𝑒𝑛𝑐𝑒; 𝐴𝐹𝐾; 𝑎𝑛𝑑 𝐺𝑒𝑚𝑒𝑒𝑛𝑡𝑒 𝐴𝑚𝑠𝑡𝑒𝑟𝑑𝑎𝑚 taken in Framer Framed by @hera_sc

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Thanks to all the gods, and the rivers and mountains and to the sea herself for the quiet respite that has always been my studio practice. I don’t know where I would be without it. My sisters scattered everywhere know this best, my tether in deep storm, my kamal and north star.

Over the last six years, alongside all else, I’ve been making sound studies, dozens of which have been collected together by curator @hera_sc and are currently on view @kunstinstituutmelly for one final week. A daily blessing, the lessons of living alongside Merapi since January 2024, Indonesias most active volcano, now in near constant eruption. These studies are made at home in Yogyakarta by pushing powdered pigment by hand, finger painted as they say! often using red iron oxide, dating back 300,000 years and found on the slope itself.

Hera Chan spoke so beautifully about it in her exhibition text: “Sourced from the volcanic slopes of Merapi, the Persian Gulf, and regions of India, where it’s geologically widespread and culturally significant, this material, derived from hematite, is widely recognized as the earliest known pigment used by humans, reinforcing its presence as one of the most enduring materials in mark-making. Its iron, like that in blood, binds to oxygen, giving color and vitality… Intuitive and automatic, Studies For A Sound Chamber (2026) is an ongoing series of works on paper and artist books whose forms emerge through inhabiting a geography marked by pressure and heat. Pigments pressed onto the surface mobilize a colour lexicon drawn from natural forces, grounded in the transcendental spirit of the volcano. Beneath stillness, fountain springs and magma flow, accumulate, and press outward. The volcano is understood as a guiding spiritual and relational force, where pressure builds in unseen chambers, heat rises through collective bodies, and eruption culminates in necessary renewal.”

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Solo Exhibition: There Is A Fountain Even If Pale, That Flows Beneath Us All is on view til September 6th @kunstinstituutmelly, go while you can. Thanks to @gabi_ngcobo_official @rosanicodegraaf @aidadhoum @visuology_nl for making it possible. 🌋❤️🫂 taken in Kunstinstituut Melly by @hera_sc

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The solo I staged with Hajra is up at Melly for two more weeks!

Goa Gong sits inside a karst formation at the southeastern edge of East Java, a cave whose stalactites and stalagmites, when struck, emit resonant tones that carry through a sequence of rooms, each with different dimensions and reverb times, each functioning as a distinct chamber within a larger instrument. Its five springs feed pools whose sources are not marked on any official map but are rather a form of knowledge that belongs to the surrounding kampung, passed laterally across generations and never archived by the state. That the cave holds sound is publicly known; that it holds water from sources the state has never traced is a different kind of mystery. Both conditions describe an interior life that exceeds what is legible from the outside. It is this structure—the chamber within the chamber, the knowledge that circulates below the threshold of official record—that runs through Hajra Waheed’s practice as a formal and political principle.

Working across drawing, painting, video, sound and the artist book, Hajra’s sustained inquiry concerns what a chamber can hold: a resonating architectural space, a body receiving frequencies, a book folded and unfolded, a vessel for voices that official history has attempted to contain or suppress. As in Goa Gong, where each room returns sound differently, her forms do not resolve into a single register. They are nested enclosures, each amplifying what the last held. And like the cave’s springs, the sources of resistance and solidarity they draw on are rarely those the state has charted. Sound is both an instrument of carceral power and the medium through which that power is answered [...]

Hajra Waheed: There Is a Fountain Even If Pale That Flows Beneath Us All is up until September 6 ~
Thank you to @rosanicodegraaf @aidadhoum @visuology_nl Wendy @gabi_ngcobo_official @aflwjy taken in Kunstinstituut Melly by @hera_sc

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With the mysterious civilization works found in the Sanxingdui (Three Star Mound) in Sichuan province, dating to 12-11th century BCE, called the ancient kingdom of Shu and contemporaneous with the Shang Dynasty taken in 三星堆博物館 - 遺址 Sanxingdui Museum by @hera_sc

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With Baodingshan, Dazu rock carvings from southern Song, 9-13th century taken in 重慶 by @hera_sc

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Assisted living ✌️ taken in 深圳市 by @hera_sc

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蝶哥 🦋 featuring the kite-flying city of Weifang taken in Weifang by @hera_sc

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For Riar, Merapi’s eruptions are understood as epistemological events and murmurs of the eventuality of human extinction. “Extinction is the rule. Survival is the exception,” the film’s voiceover says. In the artist’s lexicon, the investigation into the post-human is quite literal, an entire world without humans following the big explosion that has been promised and predicted for hundreds of years. What is intoned in the film recalibrates what follows, asking us to understand the present moment not as a stable platform from which we observe the occasional catastrophe, but rather positions survival as an extremist improbability that is interpreted as a natural accident. This is Merapi’s world and we all just live in it.

Outtakes from the road movie that is three exhibitions (Monisme at @nonfrasa @ubudcinecurious 1-7; Period Piece at @museummacan @venuslauhk 8-14; KKK at @ruangmes56 15-17) in three cities (Ubud; Jakarta; Yogyakarta). And plucked to write about a friend’s work with, around, and erupting into Monisme 🌋 thank you @krisnasudharma for inviting me to write! by @hera_sc

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Nonfrasa is delighted to present Monisme, the final chapter of a tripartite solo exhibition by Riar Rizaldi. Arriving on June 27th, the presentation showcases a multi-channel video fragment and curated archives, alongside a screening of the full film. Grounded in the artist’s time living near Mount Merapi, the film oscillates fluidly between documentary, horror, and science fiction to focus intimately on the enduring human communities existing in the volcano’s shadow. Forged in a spirit of collective filmmaking, Monisme illustrates the volatile frictions of overlapping worlds—tracing the intertwined lives of a mystic resisting state-sponsored violence, a volcanologist guided by earth-sensing technology, and a sand miner entangled in a complex extraction economy. Hovering beautifully between the factual and the fictional, the exhibition invites us to reflect on how we navigate survival and spirituality in the face of nature’s overwhelming endurance.

“In Monisme (2023), Riar Rizaldi’s feature-length docu-fiction, the road unfolds on the slopes of Mount Merapi—Indonesia’s most active volcano, the mountain of fire, the creator and destroyer. [...] What Darwinian progress describes as gradual improvement toward fitness is a story that makes sense at one scale of time and becomes unrecognizable at another. With the metric of deep geological or cosmic time, what persists is circular, like the roads traveled in Monisme. The post-human is not a future condition to be dreaded or celebrated. It is the already-existing proposal of the volcano, from which our current epoch constitutes a brief appearance.”

– Excerpt from ‘Monisme or the Beginning and End of the World’ by Hera Chan

Saturday, June 27th
Exhibition Opening at 4:00 PM
Film Screening at 6:30 PM
*Full film screening facilitated in collaboration with Ubud Cine Curious.

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Nonfrasa at Titik Dua Ubud
Jl. Cok Rai Pudak No.48, Ubud, Bali 80571, Gianyar 80571

VISIT NONFRASA.GALLERY by @hera_sc

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We arrive at Yang Bersayap Rangka Daun to meet a cast of characters that include wolf-headed figures, two-headed angels, women whose skulls open into botanical networks, crocodile faces, prone bodies in fields of fire, with the forest itself given eyes. Presence that carry emotional weight without requiring narrative explanation are available to whatever story the viewer brings. The traditional techniques produce a translucency that requires light to complete the image, mutable to the shifting moods of day. They produce material with the quality of raw world-stuff, the kind that myths are built from. What Jumaadi offers is not a story but the conditions for one: characters whose animal, botanical, and human natures are folded together, emotional registers that belong to the viewer, and material that can be wound to fit the stories of our lives.

Very happy to have contributed a text to Jumaadi’s largest solo in Indonesia to date, alongside Adi Wicaksono and poet Afrizal Malna. With thanks to @angmruk @mirantisemir @emirnajid and @hendra.himawan and now on view at @tumurunmuseum until 10 January 2027 🍃 taken in Tumurun Private Museum by @hera_sc

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