• Jompet Kuswidananto, Dark Play 2017, Installation © Photo courtesy of the artist
  • Jompet Kuswidananto, Dark Play 2017, Installation © Photo courtesy of the artist

On Paradise Jompet Kuswidananto

Description
Informations

Hornu

22 10 '17 > 21 01 '18

More info

Address

MAC's
Rue Sainte-Louise 82
B-7301 Hornu

Opening hours

Tuesday - Sunday
10:00 > 18:00

Last admission 17:30

Closed on Monday,
24, 25 & 31 12 '17

Info

T +32 (0)65 65 21 21
info.macs@grand-hornu.be
www.mac-s.be

Tickets

Adults 
8,00 €

Groups (min. 15 p.)
Seniors 65+
5,00 €

Youth 6 > 18 year
Students
2,00 € 

Children -6 year
Unemployed
Persons with a disability
Free entrance

Guided tours

Audio guide 
EN/FR/NL/DE/IT/SP
2€ 

Guided tours
Max. 20 people

During the week 50,00 €
Week-end & nocturne 60,00 €
School groups 40,00 €

T +32 (0)65 613 915

Organisation

EUROPALIA, MAC's, Ministry of Education and Culture of Indonesia

How to get there?

MAC’s

Curatoren Alia Swastika & Denis Gielen

As part of the EUROPALIA festival, the MAC’s will be presenting On Paradise, a brand new installation by the transdisciplinary artist Jompet Kuswidananto (born in 1976, lives and works in Yogyakarta). Questioning the connections between politics and religion, this work refers to a crucial episode in his country’s history: the rebellion by a section of the population against the colonial authorities in July 1888 in the region of Banten (Java). 

Using archive documents, Jompet Kuswidananto emphasises here the major role played by religious leaders who, interpreting a series of natural disasters around that time (the eruption of Krakatoa, the malaria and plague epidemics) as the portents of “the end of the world”, mobilised the Indonesians against the infidel colonials, calling for a “holy war” and thus promising them their place in “heaven”. 

But the installation specifically designed for the large room in the MAC’s is more related to theatre and phantasmagoria, playing out this troubled time through various, visually striking symbolic objects, such as the chandeliers strewn across the floor which singularly illustrate the underlying causes of the fall of the colonial power and a local aristocracy who had adopted its status symbols.