https://linktr.ee/kohesi.initiatives

Kohesi Initiatives, Yogyakarta City (2026)

27/08/2026

As 𝘔(𝘢)𝘶𝘴(𝘰𝘭)𝘦𝘶𝘮 𝘰𝘧 𝘗𝘳𝘦𝘤𝘪𝘰𝘶𝘴 𝘗𝘢𝘴𝘵𝘴 𝘢𝘯𝘥 𝘋𝘪𝘴𝘱𝘰𝘴𝘢𝘣𝘭𝘦 𝘍𝘶𝘵𝘶𝘳𝘦𝘴 has come to a close, kohesi Initiatives thank the eight participating artists whose practices shaped this exhibition.

Our gratitude also goes to Liza Markus for the thoughtful exhibition essay, and to all who have contributed to the making of this exhibition

The exhibition argued against an ending: not by denying that things fall apart, but by refusing to treat that as the last word. The crisis of the present lies not in the inevitability of endings, but in the belief that the current state of the world is final. By rethinking our relationship to the past, embracing transformation, and remaining open to revision, the works invite us to reclaim a sense of agency within an uncertain future.

🌐 Trace back the exhibition on our website.

—

Tirtodipuran Link Building A is temporarily closed in preparation for the upcoming exhibition.

30/07/2026

In contrast to proposing a singular resolution, 𝘔(𝘢)𝘶𝘴(𝘰𝘭)𝘦𝘶𝘮 𝘰𝘧 𝘗𝘳𝘦𝘤𝘪𝘰𝘶𝘴 𝘗𝘢𝘴𝘵𝘴 𝘢𝘯𝘥 𝘋𝘪𝘴𝘱𝘰𝘴𝘢𝘣𝘭𝘦 𝘍𝘶𝘵𝘶𝘳𝘦𝘴 assembles a constellation of artistic positions that collectively resist stagnation and fatalism. The exhibition opens on how the crisis of the present lies not in the inevitability of endings, but in the belief that the current state of the world is final. By rethinking our relationship to the past, embracing transformation, and remaining open to revision, the works invite us to reclaim a sense of agency within an uncertain future.

💻 Read the exhibition text on the e-catalog, available on our website.
—

𝗠(𝗮)𝘂𝘀(𝗼𝗹)𝗲𝘂𝗺 𝗼𝗳 𝗣𝗿𝗲𝗰𝗶𝗼𝘂𝘀 𝗣𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗗𝗶𝘀𝗽𝗼𝘀𝗮𝗯𝗹𝗲 𝗙𝘂𝘁𝘂𝗿𝗲𝘀

21 June – 23 August 2026

Arin Dwihartanto Sunaryo | Enka Komariah | Ines Katamso | Jompet Kuswidananto | Lemuel E. Saputra | Marten Bayuaji | Maryanto | Syagini Ratna Wulan

Tirtodipuran Link Building A
Jl. Tirtodipuran No. 50
Yogyakarta 55143

Tuesday—Sunday
1—8 PM

29/07/2026

M(a)us(ol)eum of Precious Pasts and Disposable Futures reflects on a conflation between the collapse of human-made structures and forms of destruction arising from the immeasurable scales of nature and the cosmos. The necessary dismantling of obsolete systems is often treated as though it were as inevitable—and as uncontrollable—as natural catastrophe.

The profound impact of nature, for instance, on Marten Bayuaji, Maryanto, and Jompet Kuswidananto emerges through their respective engagements with representational practice, Javanese spirituality, and mountain culture.
—

𝗠(𝗮)𝘂𝘀(𝗼𝗹)𝗲𝘂𝗺 𝗼𝗳 𝗣𝗿𝗲𝗰𝗶𝗼𝘂𝘀 𝗣𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗗𝗶𝘀𝗽𝗼𝘀𝗮𝗯𝗹𝗲 𝗙𝘂𝘁𝘂𝗿𝗲𝘀

21 June – 23 August 2026

Arin Dwihartanto Sunaryo | Enka Komariah | Ines Katamso | Jompet Kuswidananto | Lemuel E. Saputra | Marten Bayuaji | Maryanto | Syagini Ratna Wulan

Tirtodipuran Link Building A
Jl. Tirtodipuran No. 50
Yogyakarta 55143

Tuesday—Sunday, 1—8 PM

Throughout Jompet Kuswidananto’s works, ghosts repeatedly appear as figures inhabiting history. In some sense, Jompet subverts the archive and the museum by giving bodies to individuals, myths, and events that failed to pass through the gatekeeping mechanisms of official history. The ghost becomes a figure suspended outside specification and use, neither fully absent nor fully recognized, yet always tied to an event, a location, a time.

In this exhibition, his work strips these ghostly bodies of most recognizable markers. In earlier works, the figures were identified through costumes and social roles: demonstrators, ormas members, palace guards.
—

Jompet Kuswidananto
𝗗𝗼𝗻’𝘁 𝗟𝗲𝗮𝘃𝗲 𝘁𝗵𝗲 𝗟𝗶𝗴𝗵𝘁𝘀 𝗢𝗻
2026
Fabric, shoes, lamp, iron, digital sound player, electronic and mechanical system
Variable Dimension

Here, three nameless figures remain, almost without volume. Their shoulders are hooked to a motor and pulled upward, yet the limpness of the fabric makes it difficult to tell whether these are clothes or a tattered stage curtain. In differing shades of white, the fabric folds and unfolds, “bowing” against the industrial light as it moves upward and downward, accompanied by ceremonial music. Rather than pointing t

24/07/2026

In contrast to proposing a singular resolution, 𝘔(𝘢)𝘶𝘴(𝘰𝘭)𝘦𝘶𝘮 𝘰𝘧 𝘗𝘳𝘦𝘤𝘪𝘰𝘶𝘴 𝘗𝘢𝘴𝘵𝘴 𝘢𝘯𝘥 𝘋𝘪𝘴𝘱𝘰𝘴𝘢𝘣𝘭𝘦 𝘍𝘶𝘵𝘶𝘳𝘦𝘴 assembles a constellation of artistic positions that collectively resist stagnation and fatalism. The exhibition opens on how the crisis of the present lies not in the inevitability of endings, but in the belief that the current state of the world is final. By rethinking our relationship to the past, embracing transformation, and remaining open to revision, the works invite us to reclaim a sense of agency within an uncertain future.

💻 Read the exhibition text on the e-catalog, available on our website.
—

𝗠(𝗮)𝘂𝘀(𝗼𝗹)𝗲𝘂𝗺 𝗼𝗳 𝗣𝗿𝗲𝗰𝗶𝗼𝘂𝘀 𝗣𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗗𝗶𝘀𝗽𝗼𝘀𝗮𝗯𝗹𝗲 𝗙𝘂𝘁𝘂𝗿𝗲𝘀

21 June – 23 August 2026

Arin Dwihartanto Sunaryo | Enka Komariah | Ines Katamso | Jompet Kuswidananto | Lemuel E. Saputra | Marten Bayuaji | Maryanto | Syagini Ratna Wulan

Tirtodipuran Link Building A
Jl. Tirtodipuran No. 50
Yogyakarta 55143

Tuesday—Sunday, 1—8 PM

18/07/2026

We are pleased to share the installation shot of Timoteus Anggawan Kusno’s 𝘋𝘪𝘴𝘮𝘢𝘯𝘵𝘭𝘪𝘯𝘨 𝘕𝘰𝘴𝘵𝘢𝘭𝘨𝘪𝘢 (2024) on the MAM Collection 022, curated by Tokuyama Hirokazu, on view until 23 September 2026.

Dismantling Nostalgia was an acquisition made by the Mori Art Museum Southeast Asia Collectors Circle (SEACC), combining archival prints, oil and acrylic paints, rope, and metallic devices, depicting nostalgic mountain and field landscapes where people and nature coexist in harmony, revealing how paintings known as Mooi Indie that romanticized the idea of the colonies have served to conceal the violence and inequality brought about by colonial rule.

MAM Collection 022 showcases Takusno’s diverse practice, further presented alongside two works, a photographic series Void of Time (2024) and a recent video piece Sola Fata (2025), both of which address the theme of colonial rule, a critical examination of the dangers associated with a gaze that romanticizes the past, distorted historical facts, dictatorships, and colonial regimes within contemporary society.

𝗠𝗔𝗠 𝗖𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝗼𝗻 𝟬𝟮𝟮: 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰
29 April - 23 September 2026
Mori Art Museum, Tokyo
—

Installation view: 𝘔𝘈𝘔 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 022: 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰, Mori Art Museum, Tokyo, 2026
Photo: Inaguchi Shunta
Photo courtesy: Mori Art Museum, Tokyo

Timoteus Anggawan Kusno
𝗗𝗶𝘀𝗺𝗮𝗻𝘁𝗹𝗶𝗻𝗴 𝗡𝗼𝘀𝘁𝗮𝗹𝗴𝗶𝗮
2024
Mixed media
Acquired through Southeast Asia Collectors Circle (SEACC) 2024 Fund

Installation view: 𝘔𝘈𝘔 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 022: 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰, Mori Art Museum, Tokyo, 2026
Photo: Inaguchi Shunta
Photo courtesy: Mori Art Museum, Tokyo

Installation view: 𝘔𝘈𝘔 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 022: 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰, Mori Art Museum, Tokyo, 2026
Photo: Inaguchi Shunta
Photo courtesy: Mori Art Museum, Tokyo

Timoteus Anggawan Kusno
𝗦𝗼𝗹𝗮 𝗙𝗮𝘁𝗮
2025
Mixed media
Acquired through Southeast Asia Collectors Circle (SEACC) 2024 Fund

Installation view: 𝘔𝘈𝘔 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 022: 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰, Mori Art Museum, Tokyo, 2026

15/07/2026

As 𝗦𝗶𝗹𝘂𝗺𝗮𝗻 𝗠𝗮𝗰𝗮𝗻 (𝘞𝘦𝘳𝘦𝘵𝘪𝘨𝘦𝘳) comes to a close, kohesi Initiatives express our appreciation to Timoteus Anggawan Kusno, whose artistic practice has been integral to the making of this presentation.

Timoteus Anggawan Kusno’s latest work-in-progress, Siluman Macan (Weretiger), presents the evolving formation of materials, centers a recurring motif within his practice while examining its shifting metaphorical resonance across histories of power and memory. Through fiction as both method and inquiry, the project probes itself on what is seen, remembered, believed, and made to disappear.

Our sincere thanks also go to Omniroar and all who have contributed to the realization of this presentation.

🌐 Trace back the presentation on our website.

10/07/2026

In M(a)us(ol)eum of Precious Pasts and Disposable Futures, a constellation of artistic positions collectively resisting stagnation and fatalism, presenting how the crisis of the present lies not in the inevitability of endings, but in the belief that the current state of the world is final.

Across their distinct practices, Ines Katamso, Arin Dwihartanto Sunaryo, and Syagini Ratna Wulan each challenge fixed ways of understanding the world by embracing material agency, ecological intelligence, and intuitive perception.
—

𝗠(𝗮)𝘂𝘀(𝗼𝗹)𝗲𝘂𝗺 𝗼𝗳 𝗣𝗿𝗲𝗰𝗶𝗼𝘂𝘀 𝗣𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗗𝗶𝘀𝗽𝗼𝘀𝗮𝗯𝗹𝗲 𝗙𝘂𝘁𝘂𝗿𝗲𝘀

21 June – 23 August 2026

Arin Dwihartanto Sunaryo | Enka Komariah | Ines Katamso | Jompet Kuswidananto | Lemuel E. Saputra | Marten Bayuaji | Maryanto | Syagini Ratna Wulan

Tirtodipuran Link Building A
Jl. Tirtodipuran No. 50
Yogyakarta 55143

Tuesday—Sunday, 1—8 PM

Ines Katamso’s works explore the intersections of ecology, spirituality, and material transformation, examining how living systems can offer alternative ways of understanding the world beyond narratives of collapse. Drawing on fungi, mycelium, rhizomes, soil, and fermentation, she approaches decomposition as a generative process through which life continuously regenerates.
—

𝗛𝗬𝗣𝗛𝗔𝗘 𝟱
2026
Soil from Yogyakarta and France on cotton, aluminum accent
180 x 140 cm (triptych)

The use of microscopes also profoundly changed how Ines experiences material. Through microscopic imaging of fungal structures and soil organisms, she became interested in enlarging invisible biological processes into human scale, much like how ancient mythologies translate natural forces into gods, goddesses, and human narratives.
—

𝗛𝗬𝗣𝗛𝗔𝗘 𝟱
2026
Soil from Yogyakarta and France on cotton, aluminum accent
180 x 140 cm (triptych)

In her works, the microscopic forms she encounters are translated onto canvas using the same materials within which the organisms themselves grow. Ines incorporates soil from the places she inhabits as both pigment and material, grounding each work in its immediate ecological context.In doing so, identity shifts away from political categories and toward biological and geol

07/07/2026

𝘋𝘫𝘢𝘯𝘫𝘪 𝘗𝘢𝘭𝘴𝘰𝘦 is another fictional film screened on the final night of open-air cinema before the tiger spirit terror swept through Runcingbambu. The film follows the arrival of a Dutch overseer who brings honeyed promises to a tranquil village abundant with water, rice, fish, and fruit trees. He comes bearing maps, contracts, and grand plans to develop the village into prosperity. Yet from the moment of his arrival, strange things begin to happen. Swamp water turns black, poultry vanish in the night, the sound of weeping drifts from behind the mist, and shadows of strange-bodied figures begin appearing at the edges of the village. When swamp monsters attack the settlement, the villagers summon a wandering warrior renowned for his technique known as the Death Kick. A single kick sends monster bodies hurtling and shattering into the mud. But the more monsters are defeated, the clearer it becomes that these creatures were born from the overseer’s false promises.
—

𝗦𝗽𝗮𝗻𝗱𝘂𝗸 𝗗𝗷𝗮𝗻𝗷𝗶 𝗣𝗮𝗹𝘀𝗼𝗲
2026
Acrylic painting on canvas, ropes, wall mounted iron hanging
150 x 108 cm (Artwork)
206 x 157 x 20.5 cm (Installation size)

𝗦𝗽𝗮𝗻𝗱𝘂𝗸 𝗗𝗷𝗮𝗻𝗷𝗶 𝗣𝗮𝗹𝘀𝗼𝗲 (Detail)
2026
Acrylic painting on canvas, ropes, wall mounted iron hanging
150 x 108 cm (Artwork)
206 x 157 x 20.5 cm (Installation size)

𝗦𝗽𝗮𝗻𝗱𝘂𝗸 𝗗𝗷𝗮𝗻𝗷𝗶 𝗣𝗮𝗹𝘀𝗼𝗲 (Detail)
2026
Acrylic painting on canvas, ropes, wall mounted iron hanging
150 x 108 cm (Artwork)
206 x 157 x 20.5 cm (Installation size)

𝘈𝘫𝘪𝘢𝘯 𝘗𝘢𝘯𝘤𝘢𝘴𝘰𝘯𝘢 is a fictional film screened on the final night of open-air cinema before the tiger spirit terror swept through Runcingbambu. The film follows sugar factory workers and sugarcane plantation laborers who go on strike after the Dutch overseer fails to pay their wages and breaks his promises on workplace safety. Rather than settling his debts, the overseer employs forbidden knowledge that renders his body incapable of death as long as it remains in contact with the earth. Each time he is struck, stabbed, or burned, his body rises again the moment it touches the plantation soil he has long dominated.
—

𝗦𝗽𝗮𝗻𝗱𝘂𝗸 𝗔𝗷𝗶𝗮𝗻 𝗣𝗮𝗻𝗰𝗮𝘀𝗼𝗻

03/07/2026

Within the presentation, the 𝗕𝗹𝗮𝗰𝗸𝗯𝗼𝗮𝗿𝗱 unfolds the working notes of a film still in motion: scene sketches, research fragments, narrative excerpts, visual studies, production design blueprints, technical drawings, and oil pastel storyboards on Moleskine pages. It operates between cinema and visual art, as a space where a film is not merely waiting to be projected, but is actively being imagined, dismantled, tested, and reassembled.
—

𝗦𝗶𝗹𝘂𝗺𝗮𝗻 𝗠𝗮𝗰𝗮𝗻 (𝘞𝘦𝘳𝘦𝘵𝘪𝘨𝘦𝘳)
𝘍𝘪𝘦𝘭𝘥 𝘯𝘰𝘵𝘦𝘴 𝘧𝘰𝘳 𝘢 𝘧𝘪𝘭𝘮 𝘪𝘯 𝘱𝘳𝘰𝘨𝘳𝘦𝘴𝘴 𝘣𝘺 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰

Opens from
14 June 2026

Tirtodipuran Link Building B
Jl. Tirtodipuran, No. 26
Yogyakarta 55143

Monday—Sunday
1—8 PM

The structure of blackboard, resembling a working board, reveals the relationships between frames, notes, spatial designs, drawings, and possible scenes, while exposing how a film can turn its gaze toward its own becoming. The Blackboard’s elements function as a meta-processual space: a field where story, method, design, and cinematic imagination permeate one another before eventually coalescing into moving images.

Timoteus Anggawan Kusno
𝗙𝗶𝗲𝗹𝗱 𝗡𝗼𝘁𝗲 𝗳𝗼𝗿 𝗪𝗲𝗿𝗲𝘁𝗶𝗴𝗲𝗿 𝟱
2026
Charcoal on paper, needle, wooden frame
29.7 x 21 cm

Timoteus Anggawan Kusno
𝗦𝘁𝘂𝗱𝘆 𝗳𝗼𝗿 𝗮 𝗙𝗿𝗮𝗺𝗲: 𝗪𝗲𝗿𝗲𝘁𝗶𝗴𝗲𝗿 𝟬𝟮
2026
Oil pastel on acid-free notebook paper
20.8 x 26 cm

Details of the Blackboard

Details of the Blackboard

Timoteus Anggawan Kusno
𝗦𝘁𝘂𝗱𝘆 𝗳𝗼𝗿 𝗮 𝗙𝗿𝗮𝗺𝗲: 𝗪𝗲𝗿𝗲𝘁𝗶𝗴𝗲𝗿 𝟬𝟱
2026
Oil pastel on acid-free notebook paper
20.8 x 26 cm

Timoteus Anggawan Kusno
𝗙𝗶𝗲𝗹𝗱 𝗡𝗼𝘁𝗲 𝗳𝗼𝗿 𝗪𝗲𝗿𝗲𝘁𝗶𝗴𝗲𝗿 𝟭𝟬
2026
Charcoal on paper, needle, wooden frame
19 x 35.5 cm

Details of the Blackboard

Details of the Blackboard

Timoteus Anggawan Kusno
𝗙𝗶𝗲𝗹𝗱 𝗡𝗼𝘁𝗲 𝗳𝗼𝗿 𝗪𝗲𝗿𝗲𝘁𝗶𝗴𝗲𝗿 𝟯
2026
Charcoal on paper, needle, wooden frame
21 x 29.7 cm
—

𝗦𝗶𝗹𝘂𝗺𝗮𝗻 𝗠𝗮𝗰𝗮𝗻 (𝘞𝘦𝘳𝘦𝘵𝘪𝘨𝘦𝘳)
𝘍𝘪𝘦𝘭𝘥 𝘯𝘰𝘵𝘦𝘴 𝘧𝘰𝘳 𝘢 𝘧𝘪𝘭𝘮 𝘪𝘯 𝘱𝘳𝘰𝘨𝘳𝘦𝘴𝘴 𝘣𝘺 𝘛𝘪𝘮𝘰𝘵𝘦𝘶𝘴 𝘈𝘯𝘨𝘨𝘢𝘸𝘢𝘯 𝘒𝘶𝘴𝘯𝘰

Opens from
14 June 2026

Tirtodipuran Link Building B
Jl. Tirtodipuran, No. 26
Yogyakarta 55143

01/07/2026

M(a)us(ol)eum of Precious Pasts and Disposable Futures proposes how nostalgia is one of the central emotional engines behind the slow cancellation of the future. To resist nostalgia is therefore to resist consensual reality—the common-sense narratives through which history is rendered coherent and acceptable—and to move closer to the contradictions of the real. The exhibition approaches the archive not as a repository of certainty but as a contested terrain where suppressed affects, fractured memories, and unfinished histories continue to surface.

Lemuel E. Saputra and Enka Komariah’s artworks spoke of moments within our collective memory that are currently at risk of being vibe-washed; the period between 1964–1998 Indonesia. Incidentally, the two artists draw from archives situated at the beginning and the very end of that era.
—

𝗠(𝗮)𝘂𝘀(𝗼𝗹)𝗲𝘂𝗺 𝗼𝗳 𝗣𝗿𝗲𝗰𝗶𝗼𝘂𝘀 𝗣𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗗𝗶𝘀𝗽𝗼𝘀𝗮𝗯𝗹𝗲 𝗙𝘂𝘁𝘂𝗿𝗲𝘀

21 June – 23 August 2026

Arin Dwihartanto Sunaryo | Enka Komariah | Ines Katamso | Jompet Kuswidananto | Lemuel E. Saputra | Marten Bayuaji | Maryanto | Syagini Ratna Wulan

Tirtodipuran Link Building A
Jl. Tirtodipuran No. 50
Yogyakarta 55143

Tuesday—Sunday, 1—8 PM

Lemuel E. Saputra engages with painting, photography, and archival materials as a means of accessing Indonesian history. Images and texts drawn from personal family collections, Dutch colonial archives, and Indonesian archives are translated onto the painting surface through a combination of paint, collage, and image transfer. While these images function as indexical records of past moments, their meanings remain unstable as historical documents, continually shifting according to the institutions, languages, temporalities, and archival contexts through which they are encountered.

Within this practice, the image is understood as a living body—capable of growth, transformation, and decay. It may be maimed, mended, discarded, rediscovered, or forgotten, moving across different sites and social lives: from government offices to bedside tables, from civil registration forms and private letters to museum archives and digital platforms. Through these continual displacements, i

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