Indonesian Culture | indonesiaculture.net. He posed as the sole actor in the theatrical tradition of Wayang Wong. He penetrated into the 10 wayang’s characters, captured by photo-camera, then processed and manipulated in a variety of different backgrounds. Here’s what Krisna Murti to do when Wayang Wong dances theater that plays to fill out and establish them selves.

Berpose sebagai aktor tunggal didalam teater tradisi wayang wong. Ia merasuk kedalam 10 karakter wayang, direkam kamera foto, kemudian diolah dan dimanipulasi dengan berbagai latar belakang yang berbeda. Inilah yang Krisna Murti lakukan ketika teater tari wayang wong begitu berperan mengisi dan membentuk dirinya.

Srikandi’s, Gatotkaca’s, and Arjuna’s characters are from the Mahabharata story. Hanoman’s character from the Ramayana story. Gareng and other clown-servants to attend without time frame. They are placed in the plain land of destroyed ecological industrial landscape and feel the luxury shops in the country amid consumptive modern luxury. Wayang Wong’s character was also placed at the intersection of major roads in various directions opposite.

Karakter Srikandi, Gatotkaca, dan Arjuna dari kisah Mahabharata. Karakter Hanoman dari kisah Ramayana. Hingga Gareng dan punakawan lainnya hadir tanpa bingkai jaman. Mereka ditempatkan didataran luas tanah yang hancur secara ekologis sampai lanskap industrial maupun nuansa konsumtif ditengah pertokoan mewah di negeri modern nan mewah. Karakter wayang wong ini pun ditempatkan pada persimpangan jalan besar dalam berbagai arah bersebrangan.

Addition to freeze motion wayang’s character in digital   printing, Krisna show of 3:49 minutes video works at this time. The rebab sounds, which builds the dry air, 9 wayang’s characters are placed in one line without a movement, static. 20 seconds later, one by one, their body vibrating shatters. This wayang’s characters are returned, within seconds of their body melt like sand gone by the wind.

Selain  membekukan gerak karakter wayang dalam cetakan digital, Krisna menampilkan karya video berdurasi 03:49 menit dalam pamerannya kali ini. Diiringi suara rebab yang membangun suasana kering, sembilan karakter wayang ini diposisikan dalam satu barisan tanpa gerak, statis. 20 detik kemudian, satu per satu, tubuh mereka bergetar hingga hancur berkeping. Karakter wayang ini hadir kembali, dalam hitungan detik kembali tubuh mereka lebur layaknya pasir dihembus angin.

Wayang Wong character was revealed he used as a tool to express thoughts and comments about various cultural phenomena. As the main figure of new media, Krisna successfully represented a number of concerns in the discourse of Indonesian contemporary culture that always puts the tradition as exotic objects that must be maintained.

Karakter wayang wong ini ia gunakan sebagai alat ungkap untuk menyatakan pikiran dan tafsir tentang bermacam fenomena kebudayaan. Sebagai tokoh utama media baru, Krisna berhasil mewakili sejumlah kegelisahan dalam wacana budaya kontemporer Indonesia yang selalu menempatkan tradisi sebagai obyek eksotik yang harus dipelihara.

To Krishna, this project started nostalgic desire, according to the memory of events, time and data in the past. Attempts to track the journey of life, has been erased. Krisna share this experience to ensure our position where, while doing nothing. That is the real function of art.

Bagi Krisna, proyek ini memang diawali hasrat bernostalgia, menurut memori kejadian, momen dan data di masa silam. Upaya melacak perjalanan hidup yang sudah terhapuskan. Krisna membagi pengalaman ini untuk memastikan kita ini berada diposisi mana, sedang berbuat apa. Itulah fungsi seni sebenarnya.