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Abstrak :
Contemporary art practices have developed expansively over the global stage with the development of big international exhibitions, including those held in museums or biennales and festivals. In the last decade, the global art world has witnessed the contestation of powers among institutions and art practitioners generated by massive movements such as Occupy Movements, Arab Springs, Black Lives Matter, which has shifted the positionalities of artists and arts in the Global South. This shift also encourages discussions on decoloniality in the art system and art history, including how to centralize the issue of gender equality. Southeast Asian women artists have expanded their practices to show their individual world views, and touch upon political and ideological contexts revealing common urgencies on such issues as ecology, history, spirituality, and humility. This essay discusses art works created by women artists in Southeast Asia presented as part of the Biennale Jogja Equator (BJE) series in the period 2011 to 2021. This has provided artists with possibilities to engage in critical conversations and experiences, usually the preserve of the male-dominated sphere. By looking into these projects, the wide range of the shared trauma of violence, war, and colonialism, ecological damage, and lost livelihoods, to the pilgrimage towards the inner-self, have been juxtaposed and interwoven to create an imagination of collective futurism.

Abstrak :
Skripsi ini membahas mengenai kolaborasi antar aktor dalam aktivasi ruang bekas gusuran Kebon Jeruk. Accumulation by dispossession telah menjadi akar penindasan yang terjadi di Kebon Jeruk, sebab terjadi proses redistribusi lahan ke state capitalism. Proses perampasan ruang hidup ini, secara tidak langsung juga merampas ruang sosial warga kebon Jeruk. Aktivasi ruang yang dilakukan untuk merebut kembali ruang hidup Kebon Jeruk memunculkan proses kolaborasi antara warga Kebon Jeruk dan solidaritas mahasiswa. Walaupun kedua kelompok aktor ini berasal dari latar belakang dan pemahaman akan ruang yang berbeda, namun cross-cultural friendships yang telah terbangun melalui solidaritas kelas, menjadikan relasi mereka tumbuh dan terus berkembang. Penelitian ini menggunakan metode kualitatif, yakni observasi partisipasi dan wawancara mendalam. Hasil penelitian ini menunjukkan bahwa, perbedaan latar belakang, kepentingan dan pemahaman akan ruang, tidak lantas membuat kedua kelompok aktor ini terpecah belah dan tidak satu tujuan. Mereka justru menjadikan kondisi tersebut sebagai kekuatan untuk melawan dan mempererat relasi persahabatan yang terjalin untuk merebut kembali ruang hidup Kebon Jeruk, Bandung. ......This thesis discusses the collaboration between actors in the activation of the former Kebon Jeruk evicted space. Accumulation by dispossession has become the root of the oppression that occurred in Kebon Jeruk, because there was a process of land redistribution to state capitalism. This seizure of living space, indirectly also takes away the social space of Kebon Jeruk residents. The space activation which was carried out to reclaim the Kebon Jeruk lived space led to a collaborative process between Kebon Jeruk residents and student solidarity. Although these two groups of actors come from different backgrounds and understandings of space, but the cross-cultural friendships that have been built through class solidarity have made their relationships grow and continue to develop. This research uses qualitative methods, namely participant observation and in-depth interviews. The results of this study indicate that differences in background, importance and understanding of space do not necessarily mean that these two groups of actors are divided and do not have one goal. They actually make this condition as a force to fight and strengthen the friendship that has been established to reclaim the lived space of Kebon Jeruk, Bandung.