Aditya Lingga Rohadi

Lingga, Aditya
Aditya Lingga Rohadi, Assistant Curator, Museum MACAN, Jakarta, Indonesia.

Conference Report. December 2024

Los Angeles, a city where the glamour of Hollywood collides with the pressing realities of climate change, offered a unique stage to explore sustainability. With its sprawling urbanization, vibrant social diversity, and the complexities of modern life, LA serves as a global microcosm—brimming with innovation yet rife with contradictions. Perhaps the city itself is a living laboratory, showcasing how art, communities, and the environment might, or at least try to, harmonize for a sustainable future.

The first day began with a lively discussion on how museums can act as agents of change. Andrea Lissoni introduced six pillars of transformation, including discursive programs, transformative exhibitions, and internal public spaces—all designed to foster dynamic, inclusive, and community-focused art institutions. Meanwhile, Michael Maltzan emphasized the role of museum architecture as a medium for bridging local culture and ecology, creating spaces that are both dynamic and attuned to the needs of their communities. Framing the conversation within the context of sustainability, Mark Bradford underscored the importance of fostering enduring collaborations, asking pointedly, "How do we sustain what we do?" A sharp reminder that sustainability is not just about launching great initiatives but ensuring they endure and thrive over time.

The second day delved deeper into the dynamics of power and sustainability. Andrea Fraser posed a challenging question: how can art institutions genuinely and authentically reflect the values of sustainability? This is no small task, especially given the yawning chasm of global inequality—where wealthier nations enjoy abundant resources while many in the Global South are left patching the metaphorical roofs of their cultural institutions. Fraser emphasized that sustainability isn't just a matter of adopting lofty principles but requires a fundamental reshuffling of power within the very kitchens of these institutions.

In this context, Zita Cobb offered a concrete example through her community-based economic model on Fogo Island, demonstrating that sustainability is about forging strong social and cultural connections. This resonates deeply with Cecilia Winter's reflection from the first day: "Should we prioritize the needs of future privileged communities over the needs of underserved populations today?" A question that becomes critical for the Global South, where sustainability often clashes with the urgency of addressing basic needs.

By the end of the second day, Walid Raad introduced a conceptual dimension, challenging how dominant narratives can be reconfigured through art. In his performative lecture of Two Drops per Heartbeat, Raad demonstrated that art can serve as a potent tool to question entrenched power structures, forming a perfect duet with Fraser's critique of institutional hierarchies. Together, they remind us that sustainability isn't a fashionable accessory but a profound effort to rethink and refine the existing systems.

The final day expanded the conversation, spotlighting Indigenous art and community as the beating heart of cultural sustainability—a theme that felt like a collective call to "go back to the roots," quite literally. Pablo José Ramírez took a challenge at neoliberal multiculturalism, critiquing its grandiose appearances, often lacking in structural change. He urged for Indigenous art to be a catalyst for systemic transformation, not just an exotic decoration relegated to the gallery's forgotten corners. Edgar Calel and Candice Hopkins then brought the dialogue closer to home, emphasizing the preservation of cultural heritage and the spiritual connection to land—a grounding reminder that sustainability often begins under our very feet. Taloi Havini added a new dimension, laying bare the ways colonialism has unraveled matrilineal systems, deftly linking art, identity, and the endurance of communities. These ideas wove seamlessly into a shared thread of sustainability, braiding history, physical spaces, and community into a harmony of thought that had already begun resonating on the first day.

The conference served as a critical reflection on the challenges of sustainability—like opening a puzzle box where each piece raises more questions than it answers. Manuel Segade highlighted the necessity of cross-institutional collaboration as a key to success, while discussions from various speakers demonstrated how art can act as a catalyst for global dialogue. The collective vision of the participants was a hopeful conclusion: despite the obstacles on the path to sustainability, there is a shared determination to take action. As Mark Bradford aptly stated, "We all are not coming to the table with the same tools, but we're all coming to the table with the same desire to be here." This sentiment encapsulated my intellectual and emotional journey throughout the conference—my mind was enriched by diverse and profound perspectives, while my resolve was ignited to seek tangible solutions.

The conference was not merely an intellectual exchange but a resounding call to action. The question now is: how far are we willing to go to take bold steps, and are we truly prepared to face the consequences of every decision we make?


Biography

Aditya Lingga Rohadi (b. 1991) currently serves as an Assistant Curator at the Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) in Jakarta, Indonesia. She holds a BA (Honours) in Fine Art from the Faculty of Visual Art and Design at the Bandung Institute of Technology, which she completed in 2013.

Before joining Museum MACAN, Aditya worked as a Program Executive at Wot Batu in Bandung (2020–2021). Wot Batu is a unique site-specific stone installation created by Indonesian artist Sunaryo. This role honed her skills in managing large-scale art installations and interacting with diverse artistic mediums.

Since joining Museum MACAN in 2021, she has been assisting several major exhibitions. Notably, she contributed to the solo exhibition of Patricia Piccinini (2024), the survey exhibitions of Agus Suwage (2022) and the artist duo Isabel and Alfredo Aquilizan (2023). Her responsibilities involve meticulous research, strategic planning, and seamless coordination, to support complex curatorial projects.

In addition to her role at Museum MACAN, she has undertaken several independent projects that highlight her versatility and dedication. From 2017 to 2018, she served as Project Manager for the Bandung Contemporary Art Award (BaCaa) and solo exhibitions of prominent Indonesian artists including Tisna Sanjaya and Eddy Susanto. Her experience also includes roles such as Artist Coordinator at ARTMOMENTS: JOGJA in 2015 and Chief Assistant at the Jakarta Contemporary Ceramics Biennial in 2014.

Her research interests lie in Indonesian mythology and Islamic culture, with a current focus on cosmology from the perspective of Indonesian local traditions. Aditya is passionate about exploring the intersection of art, culture, and history, aiming to contribute meaningfully to the global art discourse.

Aditya Lingga Rohadi, Assistant Curator, Museum MACAN, Jakarta, Indonesia, has been awarded by Eloisa Haudenschild, United States.