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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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Opening this Friday! 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 asks how the political function of the militant image has been transformed, and what this transformation reveals about the actuality of struggle.

The works assembled reflect upon the conditions through which images are produced, circulated, appropriated and contested. Many 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. Taken together, they invite viewers to consider the militant image in the present tense and the forms through which emancipatory futures become thinkable.

𝐎𝐏𝐄𝐍𝐈𝐍𝐆 𝐖𝐄𝐄𝐊𝐄𝐍𝐃
𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐎𝐩𝐞𝐧𝐢𝐧𝐠
Friday 30 October
18:00-20:00

𝐀𝐧𝐧𝐨𝐭𝐚𝐭𝐢𝐨𝐧𝐬 𝐭𝐨 𝐭𝐡𝐞 𝐈𝐦𝐚𝐠𝐞
Saturday 31 October
15:00-19:00
𝑤𝑖𝑡ℎ 𝐻𝑎𝑖𝑔 𝐴𝑖𝑣𝑎𝑧𝑖𝑎𝑛, 𝐼𝑠𝑠ℎ𝑎𝑞 𝐴𝑙𝑏𝑎𝑟𝑏𝑎𝑟𝑦, 𝐻𝑎𝑛𝑛𝑎ℎ 𝐵𝑙𝑎𝑐𝑘, 𝑁𝑜𝑙𝑎𝑛 𝑂𝑠𝑤𝑎𝑙𝑑 𝐷𝑒𝑛𝑛𝑖𝑠, 𝐶ℎ𝑎𝑤 𝐸𝑖 𝑇ℎ𝑒𝑖𝑛, 𝑆𝑎𝑤𝑎𝑛𝑔𝑤𝑜𝑛𝑔𝑠𝑒 𝑌𝑎𝑤𝑛𝑔ℎ𝑤𝑒

𝐂𝐮𝐫𝐚𝐭𝐨𝐫𝐬' 𝐓𝐨𝐮𝐫
Sunday 1 November
15:00-16:00
𝑤𝑖𝑡ℎ 𝐻𝑒𝑟𝑎 𝐶ℎ𝑎𝑛 & 𝐸𝑑𝑤𝑖𝑛 𝑁𝑎𝑠𝑟

▪️Sign up → 🔗 IN BIO

𝐿𝑖𝑓𝑒 𝐴𝑓𝑡𝑒𝑟 𝐿𝑜𝑣𝑒 is on show at Framer Framed from 30 October to 17 January.

𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧
Oranje-Vrijstaatkade 71
Amsterdam

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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

𝐂𝐮𝐫𝐚𝐭𝐨𝐫𝐬
Hera Chan & Edwin Nasr

𝐒𝐩𝐚𝐭𝐢𝐚𝐥 𝐃𝐞𝐬𝐢𝐠𝐧
Ali T. As’ad

𝐆𝐫𝐚𝐩𝐡𝐢𝐜 𝐃𝐞𝐬𝐢𝐠𝐧
Farah Fayyad

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

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📸 Poster design by Farah Fayyad

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16 October Ends at Midnight —
Thank you @saltsizzle.id 🥩 💕
#ricohgrivmonochrome avec #ricohgriiix

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📻✨ HARI INI! TODAY! HARI INI! ✨📻
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Nayamullah Station: Teman tapi tandang
Seri program radio
A radio series
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Every first Wednesday of the month, @radioalhara broadcasts #NayamullahStation radio series, Teman tapi tandang (away at friends’)—a conscious effort in maintaining relationships by visiting friends, reading together, opening up conversations to explore their interests in practices of solidarity that have come before, and exchange ideas with a spirit of openness. Readings are selected from learningpalestine.net and collection of short story in From Jerusalem to Armageddon (Dari Yerusalem ke Armageddon)
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Today’s programme is in English

#Nayamullah (@chita_akmalia Akmalia Rizqita “Chita” @gracesamboh Grace Samboh and @rachelsurijata Rachel K. Surijata) reading and conversing with Hera Chan @hera_sc
Mixing by Aji Asfani @ajiasfani
Poster design by Julian Abraham “Togar”, Saleh Husein @aleantipony & Grace Samboh @gracesamboh
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Brought to you by #Danartodkk @nayamullah #NayamullahStation #hyphendotwebdotid radioalhara broadcastingfrombethlehem LearningPalestine MempelajariPalestina LearningPalestineinbahasa FromJerusalemtoArmageddon DariYerusalemkeArmageddon
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Rooted in Danarto dkk., Nayamullah focuses on music, sound, oralities, as well as the practice of listening. Nayamullah Station is at least three things: a space for jamming, conversing, exercising hospitality, and recording; a platform for workshops and exchanges; and a radio station without network, generating programs to be aired in other broadcasting channels. The station is an exercise for embodying archives, redistributing knowledge, rewriting history, and nurturing practices that are mindful of its predecessors, be it persons, practices, occasions, or the universe.

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From Dubai to Damascus and Berlin to Beirut, this month runs on farewells, archives and some very loud trumpets. Swipe for the dates and info.

#TheCurrent

@the_blankpage_ sets up shop as part of @kunn_space’s month-long creative fest, with prints for sale and original works on show. A weekend wander through Al Shindagha with something to take home.

📍House 353, Al Shindagha Historical Neighbourhood, Dubai
2–4 October, 4–8pm

@hindmezaina of @the_culturist presents Sanaz Sohrabi’s An Incomplete Calendar, a film that threads forgotten songs and shadow archives into the untold stories of the Third World project. A conversation with the artist follows at @alserkalartsfoundation.

📍Project Space, WH51, Alserkal Avenue, Dubai
2 October, 7:30–9:30pm

A three-day conference curated by @noraomurchu on how images shape what we see, feel and believe, with ICON contributor @hadyafif among the voices taking part. Presented by @fact_liverpool and @goetheinstitut_london with the Institute of Art and Technology at Liverpool John Moores University, and essential viewing for anyone who still trusts their eyes.

📍FACT Liverpool, UK
2–4 October

@cinemaakil brings ten films that show how many worlds French cinema can hold, from Cannes winners to animation, thrillers and social drama. Look out for Dominik Moll’s Case 137, the Dardenne brothers’ Young Mothers and Zaven Najjar’s animated Allah Is Not Obliged.

📍Cinema Akil, Alserkal Avenue, Dubai
2–9 October

@dream__atlas__ presents @mazenkerbaj leading 28 Berlin trumpeters through the church’s natural reverb in a site-specific take on the walls of Jericho, where music, not scripture, does the toppling. @noursokhon follows with Beirut Birds, a sonic memory capsule of field recordings, improvisation and migration.

📍Genezarethkirche, Neukölln, Berlin
12 October, 7pm

In town for Frieze? Start the morning at @gallery44london with a guided tour and breakfast alongside @marisamusing, @hayfa_algwaiz and @monya.riachi, in conversation on memory, the body and the architecture of home. @christinashoucair and @sositto of @naso_artjournal moderate.

📍Gallery 44, Primrose Hill, London
14 October, 9:30–11am

@baerenzwinger.berlin, Berli

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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.

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Poster design for ‘Life After Love’, an exhibition on the visual grammar of militancy, curated by @hera_sc and @upandcommie , opening on October 30 at @framerframed

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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

▬▬▬

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

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💭🚗 Spend your weekend at Melly!

🧵 Saturday: Join Jip van der Hek (@jipcat) for a free workshop exploring the city through drawing and textiles.

✏️ Sunday: Conversations on Paper
Discover how drawing can become a conversation.
@ainhoaeslavva @korkoregina @pavl_theo

📣 It’s your last chance to visit Hajra Waheed’s exhibition before it closes! @hajra.waheed @hera_sc

📅 5–6 September
📍 Kunstinstituut Melly
🔗 More info via link in bio

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@busanbiennale Dissident Chorus is open 🥂. Thank you to brilliant @amalandaplan and @evelyn_simons for inviting me to be a part of this unruly group of artists and works.

I’m showing my install Perforation, Ellipse in the old library of Busan Nam High School, on the 4th floor. We’ve reactivated an abandoned space in a way that feels very much alive, bleeding sound. Honored to share the space with @eric_baudelaire @krazykosmickid @jantsa_ @newgenderwhodis and many more.

Thank you to dream artist liaison @mauvishm and the A/V team here; @jessicaskwok who initially curated this work @storefrontnyc; and to @himil03 @collin.rn @crude_tapes for helping translate my ideas to a new context. Metalwork upgrade by @imi_b 💅.

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Birth Calculation investigates the emergence of the metal—tin—through the chemical encounter between cassiterite ore and charcoal through the process of smelting. Here, charcoal is specifically a tool of transition—a filter and guide—echoing its presence as an agent of the transmutation of matter. In this equation, cassiterite (𝑆𝑛O₂) is mixed with charcoal (C) and both materials are heated to 1,300ºC. The chemical reaction removes oxygen from cassiterite, transforming it into tin (Sn). Thus, charcoal becomes a channel for the birth of tin: historically used as fuel in smelting. Charcoal, paradoxically, is today added as a soil corrective to restore post-tin mining lands, which leads us to realise the intrinsic potential for the transformation of this material at different stages of mineral life.

These objects become poetic propositions in the hands of Luana Vitra. Cassiterite stone anchors the work to the geological origins of Phuket, Thailand, which under extractive capitalism become tin mines, and after all their minerals have been extracted, become golf courses. Around it, glazed ceramics designed with tin oxide, bricks, charcoal, cassiterite, ultramarine blue powder, and water compose an environment where matter stages the passage — between destruction and renewal, chemistry and alchemy, creating a body of work that draws our gaze to transformations.
@reneeakitelekmboya

BIRTH CALCULATION
Installation with cassiterite stone, charcoal, wagi, ultramarine powder), iron, tin, ceramics with tin oxide, bricks
Commissioned by the Thailand Biennale, Phuket
2025

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Ada yang ngun-ngun pada wayang Jumaadi. Sebaris perasaan ngelangut yang lugu terselip pada gambar dan muka kulit kerbau. Benda-benda itu mengalirkan nuansa nostalgia, juga kesederhanaan hati seseorang.

Pameran “Yang Bersayap Rangka Daun” menyajikan penggalan-penggalan kisah yang khas. Gambar serta wayangnya banyak menampilkan figur warga, anak-anak, elemen alam, dan yang paling menarik adalah cinta yang berani polos.

Lembaran kulit dengan aksen limaran melingkungi sepasang kekasih sedang terbang, sebuah rumah yang dihidupi pohon-pohon, lalu serombongan bocah mengerubungi badan pria tambun— merupakan imaji yang hanya mungkin dibangun lewat sensibilitas puisi.

Jumaadi bekerja di lintasan yang unik. Mengawinkan praktik tatah sungging, angan-angan naif, dengan sudut pandang yang bisa dibilang “begitu Indonesia”.

Selain perupaannya, karakter-karakter seniman Sidoarjo ini terasa menjembatani kehidupan dari berbagai arah. Ada realita rakyat, ada pak satpam, tapi juga ada sejumput keajaiban. Kemagisannya hadir seperti elusan tangan ibu pada kepala anaknya. Perasaan unik ini barangkali muncul dari watak artistik yang penuh rasa sayang, selain entah bagaimana juga punya kesan melindungi.

Pameran di Tumurun Museum ini memiliki atmosfer penuh suara lamat-lamat. Sebuah cerita rakyat dari dunia pasca reformasi; cinta, kerinduan, dan penantian yang tak akan pernah datang.

Sepasang kekasih itu terbang menyanyikan sayonara.
_________

‘Yang Bersayap Rangka Daun’

Presentasi tunggal oleh @juma__adi

19 Juni 2026 - 10 Januari 2027

@tumurunmuseum
Tumurun Museum,

Solo, Jawa Tengah

#Jumaadi #SoloExhibition #TumurunMuseum #IndonesianContemporaryArt #Indoartconnet

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‘The horror in Monisme is formal in genre and ambient in that horror in the fear induced in regards to the source of livelihood, spiritual authority, political legitimacy, and collective identity. Monisme opens with violence, in a scene where a farmer is killed in a forest clearing by a group of men at night. The paramilitary violence in the film is organized around the sand mining economy. The riverbeds around Merapi contain andesite deposits left by past eruptions, and those deposits are commercially valuable. What Monisme shows, and what reviewers have been careful to characterize, is an ecosystem of low-level corruption and turf warfare funded by the state: paramilitaries who control access to the mining territories and who treat the presence of outsiders—whether environmentalists, volcanologists, or filmmakers—as a territorial incursion’.

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

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.

The exhibition will run until August 15th, 2026

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

VISIT NONFRASA.GALLERY

Exhibition documentation by John Fabiant

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