Who would’ve guessed that the first exhibition Agung and I visited after the pandemic would spark a kind of tradition among us? This year we stopped by Kemang 12730 yet again—after doing so in 2021 and 2022 without fail. This year, though, I had more reason to be intrigued since the agency I work at had submitted our work to be included at the exhibition—although, unfortunately, we didn’t make the cut. With the theme of “Feel-Good Lab,” I just had to see how far the showcased artists will take it with their works. To be honest, I’m not very gelled with the theme itself—it feels so much shallower and less profound than the themes of the previous years we stopped by. Sure enough, Agung and I felt underwhelmed by what we witnessed.
Who would’ve guessed that the first exhibition Agung and I visited after the pandemic would spark a kind of tradition among us? This year we stopped by Kemang 12730 yet again—after doing so in 2021 and 2022 without fail. This year, though, I had more reason to be intrigued since the agency I work at had submitted our work to be included at the exhibition—although, unfortunately, we didn’t make the cut. With the theme of “Feel-Good Lab,” I just had to see how far the showcased artists will take it with their works. To be honest, I’m not very gelled with the theme itself—it feels so much shallower and less profound than the themes of the previous years we stopped by. Sure enough, Agung and I felt underwhelmed by what we witnessed.
📷 Fujifilm X-T100 with Fujinon Aspherical Superb EBC XC 15-45mm lens + iPhone 11 camera + Realme Pro 3 camera
Let’s refresh our memories a little bit. For those of you who didn’t know, Kemang 12730 is an annual art & design event held by ICAD that constitutes a string of events spanning the entire Kemang area in South Jakarta. This year the event collaborates with 54 participants, spanning from restaurants, design, film and architecture studios, to record stores, hotels and even supermarkets. Unlike the previous years, however, the collaborations seem to be strictly exposure-wise, nothing special goes on with the collaborators.
It was very obvious this year that the event wants to focus most of their energy to the main event, the exhibition held at Grandkemang Hotel—which is what most people know and the only event we’ve ever visited every year. While the exhibition is apparently still divided into five categories (Special Appearance, In Focus, Featured, Open Submission, dan Collaboration), the overall layout and wayfinding don’t create any distinction between categories. Moreover, somehow I feel like it’s emptier this year, as if there are less works being showcased.
Let’s refresh our memories a little bit. For those of you who didn’t know, Kemang 12730 is an annual art & design event held by ICAD that constitutes a string of events spanning the entire Kemang area in South Jakarta. This year the event collaborates with 54 participants, spanning from restaurants, design, film and architecture studios, to record stores, hotels and even supermarkets. Unlike the previous years, however, the collaborations seem to be strictly exposure-wise, nothing special goes on with the collaborators.
It was very obvious this year that the event wants to focus most of their energy to the main event, the exhibition held at Grandkemang Hotel—which is what most people know and the only event we’ve ever visited every year. While the exhibition is apparently still divided into five categories (Special Appearance, In Focus, Featured, Open Submission, dan Collaboration), the overall layout and wayfinding don’t create any distinction between categories. Moreover, somehow I feel like it’s emptier this year, as if there are less works being showcased.
What Even Is Feel-Good?
Long story short, the exhibition was so unimpressive for us that we could hardly remember most of the works being showcased. A lot of the works that stayed in my mind are the ones that seem to carry the same theme as last year’s. Oh that’s another thing! I feel like the committee at ICAD has become aware of the kinds of artists and works that most visitors gravitate towards, and thus decided to stick with those same artists and same kinds of works for this year as well. Perhaps they see a business opportunity there, as it will blow up the exhibition even more. However, it was done almost without care that these works either do not stand out or simply feel off with the existing theme. Not only do they fail to attract the visitors in any way, they also make the exhibition feel a bit all over the place.
Personally, I also find problem with the term ‘feel-good’ in and of itself. What is it even supposed to mean? Does the exhibition offer an escapist experience where people can seek safe haven from reality for a while? Does it try to unpack our needs for such havens to begin with? Criticise it completely? According to the website, this exhibition is supposed to be an “experimental laboratory to attain or express critiques surrounding this state; a space in which artists, designers, and the public may explore, activate, and rework their feelings.” But I honestly didn’t feel like that message was delivered. It just becomes a hodgepodge of random works with no unifying red string.
However, it was not only the conceptual and curating of the exhibition in itself that was a problem. Even with works that may fit the theme perfectly, a lot of the technicalities just do not work. I suppose since this year, for some reason, there aren’t a lot of attendants or assistants who would stand by and ensure everything goes well, shit happens. It was really nice to know that a lot of the showcased works have become more interactive. Unfortunately, since a lot of the interactivities rely on tools—such as paper, stationery, raw materials, or even disk space—the unavailability of these items make it impossible to enjoy the works. Not going to lie—this happened at 5 different pieces when we visited. So disappointing.
Joyland Bali 2023 t-shirt // thrifted pants // Tiga Mata Sapi tote bag // gifted shoes // photos of me by Agung
What Even Is Feel-Good?
Long story short, the exhibition was so unimpressive for us that we could hardly remember most of the works being showcased. A lot of the works that stayed in my mind are the ones that seem to carry the same theme as last year’s. Oh that’s another thing! I feel like the committee at ICAD has become aware of the kinds of artists and works that most visitors gravitate towards, and thus decided to stick with those same artists and same kinds of works for this year as well. Perhaps they see a business opportunity there, as it will blow up the exhibition even more. However, it was done almost without care that these works either do not stand out or simply feel off with the existing theme. Not only do they fail to attract the visitors in any way, they also make the exhibition feel a bit all over the place.
Personally, I also find problem with the term ‘feel-good’ in and of itself. What is it even supposed to mean? Does the exhibition offer an escapist experience where people can seek safe haven from reality for a while? Does it try to unpack our needs for such havens to begin with? Criticise it completely? According to the website, this exhibition is supposed to be an “experimental laboratory to attain or express critiques surrounding this state; a space in which artists, designers, and the public may explore, activate, and rework their feelings.” But I honestly didn’t feel like that message was delivered. It just becomes a hodgepodge of random works with no unifying red string.
However, it was not only the conceptual and curating of the exhibition in itself that was a problem. Even with works that may fit the theme perfectly, a lot of the technicalities just do not work. I suppose since this year, for some reason, there aren’t a lot of attendants or assistants who would stand by and ensure everything goes well, shit happens. It was really nice to know that a lot of the showcased works have become more interactive. Unfortunately, since a lot of the interactivities rely on tools—such as paper, stationery, raw materials, or even disk space—the unavailability of these items make it impossible to enjoy the works. Not going to lie—this happened at 5 different pieces when we visited. So disappointing.
Joyland Bali 2023 t-shirt // thrifted pants // Tiga Mata Sapi tote bag // gifted shoes // photos of me by Agung
Few that Felt Good
Mengecap Kecap:
Ruang Bhundar Lestari
Parti Gastronomi
Another crowd-pleaser is this quintessentially Indonesian installation that takes inspiration from a simple concept: soy sauce. For generations, soy sauce has been a staple condiment suitable to any kind of food among Indonesians (especially the sweet kind, signature of Indonesia). This installation explores the ways that soy sauce sparks joy for us.
While taking up only a small makeshift room, this installation consists of three elements. First, there is the round tower in the middle where a plethora of soy sauce bottles from different time periods are displayed. The walls surrounding this tower in the background showcase further oldie-but-goodie soy sauce labels. Secondly, there is a whole wall displaying photos of ways soy sauce is enjoyed with local foods (see below). Thirdly, there are also some posters of the soy sauce marketing of the past.
Nostalgila: A Tribute to Benyamin Sueb
Yayasan Benyamin Suaeb in collaboration with Studio Woork, La Munai Records, Cut & Rescue
The centrepiece of the exhibition is this three-room installation in tribute to a great Indonesian actor, Benyamin Sueb. Anyone who has ever listened to Indonesian music or watched Indonesian cinema in the ’70s probably know damn well who he is. Heck, even kids today who have ever watched Si Doel would probably know. He died when I was barely 3 years old.
The installation showcases a lot of his works, mostly his music. The first room serves as a general overview of his career. The second room offers a projection mapping room using modernised vernacular designs derived from Benyamin Sueb’s albums and film roles. The third room showcases the timeline of his musical career, including album covers, photos and quotes. A tune from his songs echoes across the rooms through an oldie-looking radio. It was like a magical time portal.
Nostalgila: A Tribute to Benyamin Sueb
Yayasan Benyamin Suaeb in collaboration with Studio Woork, La Munai Records, Cut & Rescue
The centrepiece of the exhibition is this three-room installation in tribute to a great Indonesian actor, Benyamin Sueb. Anyone who has ever listened to Indonesian music or watched Indonesian cinema in the ’70s probably know damn well who he is. Heck, even kids today who have ever watched Si Doel would probably know. He died when I was barely 3 years old.
The installation showcases a lot of his works, mostly his music. The first room serves as a general overview of his career. The second room offers a projection mapping room using modernised vernacular designs derived from Benyamin Sueb’s albums and film roles. The third room showcases the timeline of his musical career, including album covers, photos and quotes. A tune from his songs echoes across the rooms through an oldie-looking radio. It was like a magical time portal.
Mengecap Kecap:
Ruang Bhundar Lestari
Parti Gastronomi
Another crowd-pleaser is this quintessentially Indonesian installation that takes inspiration from a simple concept: soy sauce. For generations, soy sauce has been a staple condiment suitable to any kind of food among Indonesians (especially the sweet kind, signature of Indonesia). This installation explores the ways that soy sauce sparks joy for us.
While taking up only a small makeshift room, this installation consists of three elements. First, there is the round tower in the middle where a plethora of soy sauce bottles from different time periods are displayed. The walls surrounding this tower in the background showcase further oldie-but-goodie soy sauce labels. Secondly, there is a whole wall displaying photos of ways soy sauce is enjoyed with local foods (see below). Thirdly, there are also some posters of the soy sauce marketing of the past.
Diaries of The Tree Whisperer
Alex Abbad x VIRO
Personally, I would sooner gravitate towards an artwork if we get to interact and experience it than the ones that we should only appreciate visually. This is such a piece. The artwork will be the first thing you see as you come into the main atrium of the event and it is surely hard to miss, since it comes in the form of a gigantic tree smackdab in the middle of the room. What I like about this artwork, aside from the visual treat, of course, is the amazingly organised way it is displayed. There is even a step-by-step instruction on how to interact with the work—and since the materials are reusable, it allows for unlimited interactions.
First, spot the three baskets next to the instruction sign. Each basket is filled with different-coloured ketupat-like items—one basket is red, another is orange and the last one is yellow—and these are called ‘fruits.’ Pick two fruits (in whatever colour you like, there is no difference) and hang it on the tree—you will see the available spots. Then, feel free to walk around the tree, touch the gigantic wind chimes hanging from the tree and enjoy the soothing sounds they make. Additionally, you are encouraged to enter the tree, listen to the narration and follow the voice’s instruction to whisper your hopes and dreams into the tree—although this part can only be done two at a time, so it required some queueing.
At the time of our visit, Agung and I were lucky to have the artist present. He told us—and the other exhibition visitors—about the meaning of the artwork and more. He said, “You know how trees get pollinated by bees and with the help of animals? Well, these days that gets harder due to man-made climate crisis. It is only natural that, as human beings, we should take responsibility and pollinate the trees ourselves. That’s what hanging of the fruits represents—us making sure plants can still bear fruits for future generations.” Obviously, this isn’t verbatim and I might’ve paraphrased here and there, but that’s the gist of it. Also, he let us know that if we did decide to enter the tree, our voice would be recorded and used in his next installation. I thought that was rather cool, although we didn’t get a chance.
Diaries of The Tree Whisperer
Alex Abbad x VIRO
Personally, I would sooner gravitate towards an artwork if we get to interact and experience it than the ones that we should only appreciate visually. This is such a piece. The artwork will be the first thing you see as you come into the main atrium of the event and it is surely hard to miss, since it comes in the form of a gigantic tree smackdab in the middle of the room. What I like about this artwork, aside from the visual treat, of course, is the amazingly organised way it is displayed. There is even a step-by-step instruction on how to interact with the work—and since the materials are reusable, it allows for unlimited interactions.
First, spot the three baskets next to the instruction sign. Each basket is filled with different-coloured ketupat-like items—one basket is red, another is orange and the last one is yellow—and these are called ‘fruits.’ Pick two fruits (in whatever colour you like, there is no difference) and hang it on the tree—you will see the available spots. Then, feel free to walk around the tree, touch the gigantic wind chimes hanging from the tree and enjoy the soothing sounds they make. Additionally, you are encouraged to enter the tree, listen to the narration and follow the voice’s instruction to whisper your hopes and dreams into the tree—although this part can only be done two at a time, so it required some queueing.
At the time of our visit, Agung and I were lucky to have the artist present. He told us—and the other exhibition visitors—about the meaning of the artwork and more. He said, “You know how trees get pollinated by bees and with the help of animals? Well, these days that gets harder due to man-made climate crisis. It is only natural that, as human beings, we should take responsibility and pollinate the trees ourselves. That’s what hanging of the fruits represents—us making sure plants can still bear fruits for future generations.” Obviously, this isn’t verbatim and I might’ve paraphrased here and there, but that’s the gist of it. Also, he let us know that if we did decide to enter the tree, our voice would be recorded and used in his next installation. I thought that was rather cool, although we didn’t get a chance.
Nobody Talked About Feeling Good
Okay, in terms of visitors, I feel like this year it finally breaks even—or perhaps it was only because we came on a Sunday and most people opted for Saturdays instead. We noticed a lot of people still preferred to use the installations as backdrops—especially the three most popular ones I just mentioned above. Yet, since the crowd is pretty sparse, they didn’t feel entirely annoying to me. This time around a lot more of my friends from work also stopped by—I guess since we submitted a work ourselves, they are more exposed to the event—although most of them already came earlier in the month. We did bump into Agung’s friends from his previous work and my work friend’s wife. It was pretty funny.
Okay, in terms of visitors, I feel like this year it finally breaks even—or perhaps it was only because we came on a Sunday and most people opted for Saturdays instead. We noticed a lot of people still preferred to use the installations as backdrops—especially the three most popular ones I just mentioned above. Yet, since the crowd is pretty sparse, they didn’t feel entirely annoying to me. This time around a lot more of my friends from work also stopped by—I guess since we submitted a work ourselves, they are more exposed to the event—although most of them already came earlier in the month. We did bump into Agung’s friends from his previous work and my work friend’s wife. It was pretty funny.
That being said, I must say the on-ground experience just keeps going downhill from the first time we came. When we first visited in 2021, the brand identity of the event was so strong. We were given a brochure on the way in, which was really informative of the whole event—not just the exhibition—and very well designed. The shocking pink brand colour stood out very much and it felt really properly done. Yet when we came back in 2022, the branding felt a whole lot weaker. We almost didn’t see the logo anywhere at all. I think there were still some events at least with the collaborators and the marketing was still in high gear, so it was still intriguing.
This year was the most underwhelming of all. If it weren’t for the fact that my office applied to be showcased earlier this year, God only knows if I would even have heard that the event was underway. The event name is also confusing—is it still Kemang 12730 or is it ICAD 13 now? What is it about anymore? None of the collaborators promoted it, nobody talked about it. The event was as good as dead.
ICAD 13 is still available to visit until 26 Nov 2023.
Head on over to Grandkemang Hotel to check it out!
Don’t worry, it’s free.
That being said, I must say the on-ground experience just keeps going downhill from the first time we came. When we first visited in 2021, the brand identity of the event was so strong. We were given a brochure on the way in, which was really informative of the whole event—not just the exhibition—and very well designed. The shocking pink brand colour stood out very much and it felt really properly done. Yet when we came back in 2022, the branding felt a whole lot weaker. We almost didn’t see the logo anywhere at all. I think there were still some events at least with the collaborators and the marketing was still in high gear, so it was still intriguing.
This year was the most underwhelming of all. If it weren’t for the fact that my office applied to be showcased earlier this year, God only knows if I would even have heard that the event was underway. The event name is also confusing—is it still Kemang 12730 or is it ICAD 13 now? What is it about anymore? None of the collaborators promoted it, nobody talked about it. The event was as good as dead.
ICAD 13 is still available to visit until 26 Nov 2023.
Head on over to Grandkemang Hotel to check it out!
Don’t worry, it’s free.