Randa Tapak and the Stories of Growth from Bersemi Berseni Berbagi
The growth cycle of randa tapak – better known to many as the dandelion – begins with seeds scattered by the wind, landing in unfamiliar places before taking root and growing, even in disturbed soil. Drawing parallels between this cycle and the human experience, the art collective Bersemi Berseni Berbagi reflects on growth, change, and the traces carried throughout life through Randa Tapak, an exhibition held on June 14 at SpaCCCe Jakarta, Grand Wijaya.
We first encountered Bersemi Berseni Berbagi at the end of last year when they participated in Press Print Party, unaware at the time that the collective was formed by students from Batch 11 of Erudio Indonesia High School. Witnessing a group of students engage in such diverse practices, thoughtful perspectives, and artistic explorations through print-based media felt both refreshing and unexpected – qualities that have continued to evolve in this exhibition. Randa Tapak presents works by Naznin Khairunnisa, Dru Prawiro, and Kelvin Kuwantto as the culmination of their Final Major Projects, while also marking the final chapter of these three young artists’ educational journeys.
Inside a space surrounded by white walls, three distinct artistic practices unfold, each revealing the personal concerns and reflections of its maker. Through Persembahan untuk Binar Surya, Naznin Khairunnisa presents an experimental stop-motion film screened within a bathroom installation. The work speaks of growth through the act of breaking cycles. Naznin explores phases of releasing ego, confronting trauma, and ultimately surrendering to the universe. Borrowing the phrase binar surya for its title, the cyanotype process employed throughout the work creates a poetic synchronicity, particularly considering how integral sunlight – surya – is to her practice.
With Memeluk, Menyelimuti, Dru Prawiro presents a modular weighted blanket installation born from a screen-printing practice. Through an object that is conventionally associated with comfort, Dru instead speaks of its opposite: discomfort and uncertainty, particularly within a world that continues to move at an increasingly rapid pace. The installation takes the form of an entire bed, one of the most personal spaces in human life. In doing so, the work becomes a symbol of vulnerability during the process of growing up amid uncertainty – much like the seeds of the randa tapak, which can do little but surrender themselves to the wind.
We had previously encountered Kelvin Kuwantto’s practice through his debut publication, GUERRILLA. In Sound Body, presented as part of this exhibition, Kelvin consistently returns to questions of identity through archival practices. This time, however, his work turns its attention to journeys and human connections that shape personal growth. Combining analog photography, reflective essays, and personal belongings collected during his travels across Indonesia and South Korea, Kelvin examines how identity is continuously formed through the relationships we encounter throughout life.
The three works in Randa Tapak reflect the twists and turns of each artist’s individual journey of growth, converging as fragments of a larger narrative. Rather than simply presenting the artworks, Naznin, Dru, and Kelvin invite audiences to “read” their notes on becoming; to witness the fluctuations, uncertainties, and transformations that accompany every stage of the process.
