Halo dari Indonesia! (Hello from Indonesia!)
Selamat datang! We are excited to introduce you to our three selected Indonesian Offline Program Artists. Following our engaging conversations with the Australian artists, we are thrilled to share these inspiring stories and insights from talented creators based in Indonesia.
Their work reflects a vibrant blend of tradition and innovation, and we are eager for you to discover their unique perspectives and artistic journeys.
wawancara ini (the interview)
Which part of Indonesia are you from and what is your practice of work?
RAGIL DWI PUTRA: “I am Ragil Dwi Putra, an artist living and working in Jakarta. My artistic practice explores the notions of territory, body, and space, and how these are shaped by the interactions between human and non-human entities within both urban and rural contexts. Walking, speculative mapping, object collecting, and participatory processes are my artistic methodology in investigating the continuity between human presence and the surrounding environment.
My recent artistic project focuses on the agency of non-human entities in their contribution to contemporary cities, while also tracing their connection to the social-political forces. Working across performance, installation, video, sound, and printed materials, my practice invites reflection and encourages an active dialogue between viewers and their surroundings.“
PAUL KIRAM: “I am M. Fauzul Kiram, but I also go by the name Paul Kiram. I see myself as an ordinary young man who enjoys playing with forms, media, objects, and emotions. My artistic journey began in 2016, and I later pursued my art education at the Indonesian Institute of the Arts (ISI) in Padang Panjang, continuing with postgraduate studies at ISI Yogyakarta.
Growing up within the rich Minangkabau culture—deeply rooted in tradition and communal values—has significantly shaped my interests in history, social issues, ecology, and Minangkabau philosophy. These elements influence how I think and develop perspectives on various contemporary art discourses.
I often approach my practice through cross-media and collaborative methods, creating interactive artworks that invite dialogue, exchange, and critical reflection. My artistic experiences include winning the Young Innovator of Idea Challenge Series: Art Meets Science in Jakarta, participating in the solo exhibition “Museum Masa Depan” at Sarang Building in Yogyakarta, engaging in the Art, Science & Technology Exhibition “Under the Same Sun” at UNU Yogyakarta, embarking on a Wishful Journey with the Red Base Foundation, and taking part in SNAI Mix Media at Taman Budaya Sumatera Barat.”
HANA HANRAISY: “I am Hana Raudhatul Aisy Salsabila, an emerging interdisciplinary practitioner from Majalengka working at the intersection of socio-cultural documentation, ecology, and biomaterial science. My portfolio is centered on active field documentation and material research.
I am also an active contributor and citizen journalist for InfoMJLK, where I write about regional infrastructure, culture, tourism, local food narratives, and community ecosystems in Majalengka. My laboratory activities and material experiments can be viewed on my Instagram @hanraisy.sll specifically under the Highlight titled “Labø®ator-y.
My understanding of organic decay, microbiology, and moisture manipulation comes from my academic background in Food Technology. I have also secured funded research and development support for scientific projects, including a capsaicin-neutralizing candy and an ecological gluten-free snack made with moringa leaves and mocaf flour.“
What are you hoping to achieve during this project?
RAGIL DWI PUTRA: “For the past few years, I’ve been “collaborating” with more-than-human entities to make an artwork that represents the relation between human and its environment. I’d like to put forward their role as the protagonist in my artistic practice to confront our long-standing exploitation of their existence. In this process, I use some speculative future methodology from research-based practice, but only a little to understand more about it. Through this program, I’d like to understand more of this practice through collaboration and participatory thinking with practitioners from different fields.“
PAUL KIRAM: “My motivation for applying to this residency is to find a space to evolve my ideas, methods, and artistic approaches. I am deeply drawn to environments that are collaborative, exploratory, and possess a bold vision regarding art and its future role. I believe this incubation holds immense potential for the growth of my artistic practice; being in the right environment to develop and distribute work significantly influences how that art contributes to society and is appreciated. It is on this basis that I am eager to get involved, learn, exchange experiences and skills, and contribute to the Climate Future Incubator (CFI) program.”
HANA HANRAISY: “This program perfectly aligns with my ongoing independent research into ecology and climate shifts. I need the friction of this program to finally execute my independent research into experimental art. It offers the exact collaborative, interdisciplinary space required to translate my scientific observations into a physical, sensory installation. This is the crucial step to pull my concepts out of the lab and into a lived environmental reality.”
how will you approach your chosen theme and element?
RAGIL DWI PUTRA: “My work reframes extraction as a broken relationship rather than just a resource pipeline, linking prehistoric habitation to modern industrial cement production and asking what can be learned when limestone appears as itself rather than only as an exploitable resource.“
PAUL KIRAM: “My approach treats ecology as a living, interconnected network and frames the artwork as a collective process and event that bridges ecological knowledge, experience, and future speculation, using interaction to trigger new readings of climate issues and interspecies relationships.”
HANA HANRAISY: “I will approach my chosen element, Air, by focusing on its role as an invisible yet vital system within planetary circulation.”
what potential ideas will you bring to this project?
RAGIL DWI PUTRA: “My current project investigates the role of limestone as a more-than-human agent in the process of how our world is built through concrete. Limestone is almost everywhere, it was a home in the karst mountains for our ancestors to live in pre-historic time. It has become the material to make monuments, buildings with its extraordinary fine relief. As technology grows, they become the main raw material to produce cement, the most used material to build our anthropocentric world. How long will we appreciate them as an exploitable resource? Do they appear as themselves? What can we learn from them?”
PAUL KIRAM: “In this incubation, I intend to explore mycelium, magnets, natural fibers, and water as a relational system between humans and natural elements within the context of climate change. I am driven to provoke new ways of understanding ecology as a living, interconnected network. The methodology involves kinetic and interactive installations based on biomaterials and magnetic fields, open to cross-disciplinary collaboration with fellow participants, organizers, and the public.
Thus, the artwork evolves as a collective process and event that bridges ecological knowledge, experience, and future speculation. Through this approach, the artwork is projected as a medium for experience and interaction that triggers discourse and a re-reading of climate issues and interspecies relationships through fresh energy and perspectives.“
HANA HANRAISY: “My speculative project, Climate Breath Chamber, is a DIY analog optic and olfactory instrument exploring inter-species relations through air. It captures local air from living spaces, projects micro-spore interaction as real-time visual mutation, and releases byproduct gases so audiences can smell shifting inter-species interactions, making invisible climate distress visible and breathable.“
Describe how you view your chosen theme and element?
RAGIL DWI PUTRA: “I position limestone as a “more-than-human agent,” expanding the concept of inter-species relations into geology. I successfully reframe extraction as a broken relationship rather than just a resource pipeline. I link prehistoric habitation to modern industrial cement production, providing a compelling temporal depth that connects ancient earth to the anthropocentric world.”
PAUL KIRAM: “This is the most structurally aligned proposal as climate justice is explicit as my chosen element Earth is represented through biomaterials like mycelium and natural fibers. I treat ecology as a living network rather than a static object. The inclusion of kinetic and magnetic systems suggests a move toward “infrastructure thinking” rather than just a standalone art piece.”
HANA HANRAISY: “I approach the “Air” element with precise and rare sensitivity. I engage with invisible systems—spores and atmosphere—making climate distress something you can physically smell and breathe. This creates a high physical impact, forcing the audience to literally internalise the work. My background in Food Technology provides a solid scientific foundation for my material research.”
Thank you very much to our Indonesian artists for sharing their inspiring stories and perspectives.
This wraps us the interviews for our Climate Futures *offline program selected artists.
Stay tuned! We will soon publish a feature about our selected artists from the *online program.