Figures & data
Figure 1. Sunaryo, Citra Irian I (Image of Irian), 1975. Silkscreen on paper, 49.8 × 51.5 cm. Edition?/38. Collection of the artist. (Image courtesy of Selasar Sunarto Art Space)
Figure 2. Betty Adii, Dystopian Reality: The Agony of Existence, 2021. Mixed media, found objects, sculptures, watercolour and pencil drawing on paper. Adii's work responded to the narratives of conflict and toxic masculinity that she encountered in the findings of a 2010 report by the National Commission on Violence Against Women (Komnas Perempuan).
Figure 3. Constantinus Ruharusun, Homour, 2021. Mixed media and found object installation, dimensions variable. The installation includes personal items and photographs from communities living in and around Pala plantations in Fakfak, as well as sculptures juxtaposing representations of the red pits of the pala fruit with figurative elements and fibre art motifs.
Figure 4. Nelson Natkime, Nemangkawi drawing installation, dimensions variable, 2021. The artwork's form represents Nemangkawi Ninggok (mountain), now also known as Carstensz Pyramid. According to Nelson, it was once a sacred site for peoples in Mimika; it is now the location of Freeport mines.
Figure 5. Ignasius Dicky Takndare, Koreri Projection: Freedom Souls, Retouching Images Series, 2021, Digital prints on paper.
Figure 6. Ignasius Dicky Takndare and participants, A Little Gate to Koreri, 2021. Mixed media installation, dimensions variable. The work draws on the Papuan discourse, Memoria Passionis, which Chao (2020) notes is a “passionate remembrance” that “conveys Papuans' common history of suffering under Indonesian rule.”
Figure 7. Michael Yan Devis, Koreri, 2021. Installation, video mapping, mixed media, performing art, dimensions variable. This is the final work on the journey that the Koreri Projection laid out for audiences at Biennale Jogja and was the site of contemporary and traditional performances during the exhibition.
