I’m answering all these with two hats simultaneously: one as a part of the artistic director team of the upcoming documenta fifteen (2022), second as someone still involved (albeit currently in a very limited capacity) with the Jakarta Biennale.
The following diagrams were made in an attempt to explain what me + my friends are going through. They began with, but might not answer, the four questions you posed to me in a direct manner.
In a nutshell, from our experience, what we’re trying to do is to practice an understanding of art and (therefore its) institutions as something constituent, porous, in order to reach the relevancy of everyday life to sustain (at least) an ecosystem where they are based. Not many parties exercise this understanding (although for sure everyone has been writing and talking about it a lot, including those who are not practicing), by being extractive (intentionally or not).
Please dwell on the diagrams below for more…
Farid Rakun trained as an architect (B.Arch from Universitas Indonesia and M.Arch from Cranbrook Academy of Art); rakun wears different hats, dependent on who is asking. A visiting lecturer in the Architecture Department of Universitas Indonesia, he is also a part of the artists’ collective ruangrupa, with whom he co-curated TRANSaction: Sonsbeek 2016 in Arnhem, NL, and currently serving as a collective Artistic Director for documenta fifteen (Kassel, 2022). As an instigator, he has permeated various global institutions such as the Centre Pompidou, La Biennale di Venezia, MMCA Seoul, Sharjah Biennial, Bienal de São Paulo, Harun Farocki Institut, Dutch Art Institute (DAI), Creative Time, Haute École d'art et de design (HEAD) Genève, and basis voor actuele kunst (BAK). He has worked for the Jakarta Biennale in different capacities since 2013 and is currently serving as an advisor.