Close menu

SURE

Sunderland Repository records the research produced by the University of Sunderland including practice-based research and theses.

Cultural Antinomies, Creative Complicities: Agan Harahap’s Digital Hoaxes

This is the latest version of this item.

Moschovi, Alexandra and Supartono, Alexander (2019) Cultural Antinomies, Creative Complicities: Agan Harahap’s Digital Hoaxes. In: The Routledge International Handbook in New Digital Practices in Galleries, Libraries Archives, Museums and Heritage Sites. Routledge, London/New York, pp. 227-240. ISBN 9781138581296

Item Type: Book Section

Abstract

This article explores how the online presence of colonial material and its postcolonial appropriation and interpretation as well as the possibilities for user interactivity and repurposing of content has opened new channels and networks for the critical examination of the colonial archive, its ontology, politics and power. The analysis focuses on the work of Indonesian photo-based artist Agan Harahap who operates within the colonial archive’s mnemonic function using the language of appropriation and parody to merge the colonial past with the postcolonial present. Harahap’s Mardjiker Photo Studio is presented as a fictional indigenous studio operating in the colonial era and specialising on culturally inter-mixed portraits: westerners appear in folk attire and postures and locals assume western mannerisms. This digital manipulated imagery is disseminated via different online platforms, namely Facebook, Instagram and Twitter under the name of Sejarah_X. The audiences’ participation in sharing and commenting upon Harahap’s seamless photographic collages of Indonesia’s colonial past hints at the endless realm of possibilities for how these series may be circulated, recontextualised and rematerialised. The online public interaction reveals different levels of awareness and knowledge of colonial history among followers: some are totally deceived by Harahap’s skillful hoaxes; others react to his absurd scenarios accusing the artist of trivialising colonial history. Harahap’s digital interventions purposefully interrupt the authority and integrity of the archive by asking viewers to think twice about what it is that they see while questioning the authorship and ownership of the colonial archive. Recontextualised and repurposed online on different platforms, his work becomes part of an expanding post-colonial archive and proposes a reframing not only of the politics of colonial representation, but also of the validity and veracity of the photographic image as evidence and historical record.

[img]
Preview
PDF
Moschovi_Supartono_Harahap_final_April_2018 review_1 June_AM_ASdocx.pdf - Accepted Version
Available under License Creative Commons Attribution Non-commercial No Derivatives.

Download (209kB) | Preview
[img] PDF (Administrator use only)
9871.pdf - Published Version
Restricted to Repository staff only

Download (29MB) | Request a copy

More Information

Depositing User: Alexandra Moschovi

Identifiers

Item ID: 9871
ISBN: 9781138581296
URI: http://sure.sunderland.ac.uk/id/eprint/9871
Official URL: https://www.routledge.com/The-Routledge-Internatio...

Users with ORCIDS

ORCID for Alexandra Moschovi: ORCID iD orcid.org/0000-0001-6101-3970

Catalogue record

Date Deposited: 22 Aug 2018 12:59
Last Modified: 29 May 2022 02:38

Contributors

Author: Alexandra Moschovi ORCID iD
Author: Alexander Supartono

University Divisions

Faculty of Arts and Creative Industries
Faculty of Arts and Creative Industries > School of Art and Design

Subjects

Photography > Digital Imaging
Photography > Documentary Photography
Photography > Photography
Photography

Actions (login required)

View Item (Repository Staff Only) View Item (Repository Staff Only)

Available Versions of this Item