GURITASUARA
- suaranrtariksa series -
series of sound-sculpture installations : self-made instruments-speakers-amps, touch sensor circuits, kendang, kolintang, kinetik sound generator, various iOs apps, cuttleries, metal plate, durian, microphones, magnets, printed ANS Synth Phono papper.
Partially supported by the Berlin Senate's Soundart Work Grants for 2024. Presented in The DYSTOPIA Sound Art Biennial 2024, Sinema Transtopia, Institut für Theaterwissenschaft FU, Morphine Raum, Borusan Müzik Evi, Istambul, Notam Oslo, Trienalle Milano, and Nottingham Contemporary UK
Partially supported by the Berlin Senate's Soundart Work Grants for 2024. Presented in The DYSTOPIA Sound Art Biennial 2024, Sinema Transtopia, Institut für Theaterwissenschaft FU, Morphine Raum, Borusan Müzik Evi, Istambul, Notam Oslo, Trienalle Milano, and Nottingham Contemporary UK
Gurita Suara (Sound Octopus) is a series of sound-sculpture installations that embody the fluid intelligence of the octopus—an entity known for its adaptability, decentralized cognition, and ability to transform within shifting environments. This work bridges the realms of sound, diaspora, and dystopic contemporary realities such as crisis, displacement, and the ongoing divide et impera strategies embedded in today’s post-capitalist world, creating an immersive experience that echoes the fragmented, fluid, and often chaotic nature of our times.
Much like the octopus, which senses and thinks with its entire body, Gurita Suara extends its sonic tentacles into various sonic, spatial, and cultural dimensions, responding to the disruptions of time, memory, and belonging. Using self-made instrument-speakers, amplifiers, touch sensor circuits, kendang, kolintang, kinetic sound generators, and unconventional materials—including cutlery, metal plates, durian, microphones, magnets, and printed ANS Synth Phono paper—the installation conjures an organic yet dissonant ecosystem. The use of various iOS apps and electronic manipulations further dissolves the boundaries between traditional, digital, and experimental sound-making practices.
This series, developed in 2024, evolves with each edition, incorporating its own sub-narrative and storytelling while utilizing different media and sound techniques. Each iteration unfolds a distinct exploration of displacement, fragmentation, and resilience through sound, movement, and interaction.
Informed by the experiences of displaced communities, the piece reflects the multiplicity of diasporic existence: fluid yet fragmented, connected yet disoriented, intelligent yet vulnerable. Echoing the mechanisms of control and fragmentation—both physical and psychological—found in contemporary power structures, war sirens morph into lullabies, the whispers of energy crises intertwine with distorted feedback loops, and the murmurs of forgotten histories resurface through granular soundscapes. The result is an intricate sound network that, like an octopus navigating an ever-changing ocean, pulses with both resilience and precarity.
V_1904, Presented at Norwegian Centre for Technology, Art and Music (Notam Oslo)
12th of October 2024, presented along with solo performance commissioned by Nuts And Bolts at Notam in Oslo.
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Gurita Suara V_1904,
As part of the Gurita Suara series, the V_1904, expands on the central themes of fluid intelligence, displacement, and resilience by engaging deeply with the concept of Truspicion—a term merging "trust" and "suspicion." Inspired by a discourse prgram I led under the same name, this iteration of Gurita Suara explores the fragile interplay between collaboration and skepticism in postcolonial and diasporic contexts, using sound as a vehicle to navigate the unsteady terrain of power, historical memory, and social fragmentation.
Through a site specific installation and improvise performance, this edition of Gurita Suara sonically reflects the tensions that arise in collective artistic processes—where the aspiration for equal co-creation is often overshadowed by the weight of historical power imbalances, tokenism, and the enduring specters of colonialism.
The piece resonates with Europe’s current socio-political landscape, marked by the rise of right-wing populist propaganda, heightened social polarization, and a deepening mistrust between communities. The growing fears around immigration, race, and cultural difference—exploited by divisive political narratives—find their echoes in the unpredictable, multi-layered sonic structure of the installation. Sound elements clash, merge, and distort, symbolizing the breakdown of solidarity and the struggle for coexistence. The act of improvising becomes an act of negotiation—each sonic interaction reflecting the complex dynamics of suspicion and belief in an increasingly fractured world.
As part of the Gurita Suara series, the V_1904, expands on the central themes of fluid intelligence, displacement, and resilience by engaging deeply with the concept of Truspicion—a term merging "trust" and "suspicion." Inspired by a discourse prgram I led under the same name, this iteration of Gurita Suara explores the fragile interplay between collaboration and skepticism in postcolonial and diasporic contexts, using sound as a vehicle to navigate the unsteady terrain of power, historical memory, and social fragmentation.
Through a site specific installation and improvise performance, this edition of Gurita Suara sonically reflects the tensions that arise in collective artistic processes—where the aspiration for equal co-creation is often overshadowed by the weight of historical power imbalances, tokenism, and the enduring specters of colonialism.
The piece resonates with Europe’s current socio-political landscape, marked by the rise of right-wing populist propaganda, heightened social polarization, and a deepening mistrust between communities. The growing fears around immigration, race, and cultural difference—exploited by divisive political narratives—find their echoes in the unpredictable, multi-layered sonic structure of the installation. Sound elements clash, merge, and distort, symbolizing the breakdown of solidarity and the struggle for coexistence. The act of improvising becomes an act of negotiation—each sonic interaction reflecting the complex dynamics of suspicion and belief in an increasingly fractured world.
V_1703, Presented at Dystopia Sound Art Bienalle Berlin
14.09.2024
presented along with Böseblick Ensemble live set for Dystopia 2024
Developed at UNI-K - Studio for electroacoustic composition, sound art and sound research
presented along with Böseblick Ensemble live set for Dystopia 2024
Developed at UNI-K - Studio for electroacoustic composition, sound art and sound research
Sound excerpts
Notes
guritasuara_V_1703 :
LAYAR: Mobile Screen as Dystopic Instrumentation My relationship with mobile screens began back in the late 90s, during the era of pagers. Since then, I’ve watched—and experienced—firsthand how quickly technology evolved, from basic mobile phones to today’s smart devices. What started with simple digital telegrams soon transformed into mobile computing, fundamentally changing how I, and the world around me, connect and communicate. I vividly remember when Nokia’s slogan, "connecting people," captured the promise of this new tech era. But over the years, I’ve started questioning the real cost of this constant connectivity. How does the global spread of mobile technology—driven by capitalist motives—mirror colonial systems of exploitation and cultural erasure, especially in the Global South? And as I see this unfold, I wonder: how do these screens both connect and isolate us, particularly in the experiences of migrants and workers who now navigate this unequal digital landscape? We moved from SMS to mobile messengers, and the ability to capture moments with mobile photography became second nature. However, this fast-paced technological evolution has brought with it unintended consequences: addiction, FOMO (fear of missing out), and a certain melancholic detachment. These effects of our dependency on mobile screens are undeniable, and they seem to intensify with every new advancement. |
This performative installation aims to reflect on these issues. Utilizing old mobile devices, several Bluetooth speakers, selfie lights, mirrors, and sound apps that have existed since 2011, the installation explores the evolution of mobile technology and its complex role in shaping our social, emotional, and cultural landscapes. The inclusion of selfie lights and mirrors specifically addresses the rise of "selfie culture," highlighting the digital generation’s preoccupation with self-image and the performative nature of online identity. Through this, I hope to spark reflection on where we are headed in this hyper-connected yet fragmented digital age. I presented this installation along with a diverse score written by my colleagues from the Böseblick Ensemble, specifically composed for this concert. This collaboration will blend the sonic elements with the visual and technological, further deepening the reflective experience of the piece. |
V_1965 Presented at Sinema Transtopia
2.3.11.2024
Presented along with TAHANGUENTAR premiere at SInema Transtopia. Supported by Musikfonds e.V.
Presented along with TAHANGUENTAR premiere at SInema Transtopia. Supported by Musikfonds e.V.
Sound excerpts
Gurita Suara: V_1965
Part of the Gurita Suara (Sound Octopus) series, this iteration of the sound-sculpture installation takes form within and is inspired by TAHANGUENTAR, a multi-channel sound performance and dramaturgical narrative exploring the intersections of sound, diaspora, and fractured national identities. TAHANGUENTAR serves as both a conceptual framework and a dynamic playing field for the sonic sculpture, extending the project’s themes of displacement, resilience, and fluid intelligence.
This process began at Jendela Sonorama, a communal listening and lecture-performance series where I envisioned integrating various sound snippets—created with two sound artists—into a living, evolving sonic sculpture. These snippets were combined with self-made instruments and a kendang, a key instrument in Jaipong music. Using a touch sensor device, I could trigger and manipulate these samples live while simultaneously playing the self-made instruments, constructing an orchestration that blends archival recordings with improvisational performance.
Within TAHANGUENTAR, which explores the fractured legacies of Brazilian Samba and Indonesian Jaipong as state-constructed national rhythms, the sculpture acts as a sonic organism that absorbs, distorts, and reconfigures rhythmic structures.
Part of the Gurita Suara (Sound Octopus) series, this iteration of the sound-sculpture installation takes form within and is inspired by TAHANGUENTAR, a multi-channel sound performance and dramaturgical narrative exploring the intersections of sound, diaspora, and fractured national identities. TAHANGUENTAR serves as both a conceptual framework and a dynamic playing field for the sonic sculpture, extending the project’s themes of displacement, resilience, and fluid intelligence.
This process began at Jendela Sonorama, a communal listening and lecture-performance series where I envisioned integrating various sound snippets—created with two sound artists—into a living, evolving sonic sculpture. These snippets were combined with self-made instruments and a kendang, a key instrument in Jaipong music. Using a touch sensor device, I could trigger and manipulate these samples live while simultaneously playing the self-made instruments, constructing an orchestration that blends archival recordings with improvisational performance.
Within TAHANGUENTAR, which explores the fractured legacies of Brazilian Samba and Indonesian Jaipong as state-constructed national rhythms, the sculpture acts as a sonic organism that absorbs, distorts, and reconfigures rhythmic structures.
V_1933 Presented at Trienalle Milano
25.07.2024
Presented alongside a commissioned solo performance as part of Hyperlocal Buah Batu, an event showcasing artists originally from Bandung, Indonesia. Co-curated with Luigi Monteanni (Artetetra) and supported by Chase and LYL Radio, the event was presented by ZERO EU at Triennale Milano."
Presented alongside a commissioned solo performance as part of Hyperlocal Buah Batu, an event showcasing artists originally from Bandung, Indonesia. Co-curated with Luigi Monteanni (Artetetra) and supported by Chase and LYL Radio, the event was presented by ZERO EU at Triennale Milano."