ARS LONGA TRILOGIA
Tema Kuratorial ARTJOG 2026-2028

Farah Wardani

The above quote is an aphorism by the Ancient Greek philosopher Hippocrates, Ars Longa, Vita Brevis, which literally means “Art is long, life is short”. This expression has become one of the most well-known and frequently quoted statements among art and philosophy enthusiasts, particularly among those studying the humanities and contemplating human existence. This aphorism’s profound meaning reflects the reality that while human life is limited in time, the works of art and knowledge we create have a long and deep continuity that is inseparable from humanity itself. 

Based on this understanding, the title and theme of ARTJOG 2026 - 2028 are inspired by the concept of “Ars Longa Trilogia”, meaning “The Long Art Trilogy.” This concept stems from a curatorial interpretation of the meaning of “long art”, which is the deep belief that art is a way of life that is always relevant to human existence. Art and its artists find their relevance in accordance with developments and goals throughout human civilisation. Art remains an integral part of life due to its ability to adapt and provide meaning within ever-changing social, cultural, and political contexts.

We are currently entering an era that technocrats refer to as Society 5.0 – a concept of the future society that builds on the Information Age. Society 5.0 is human-centred, driven by technological advances that integrate the physical and digital worlds in order to solve social challenges and improve the quality of human life. The technology is designed to create a sustainable society and humanistic environment with the aim of overcoming major problems such as population ageing, climate change, food crises, and economic inequality. This is achieved through the seamless integration of technology into everyday life, so that—ideally—its benefits can be widely and fairly felt, bringing about a “better world”.

However, Society 5.0 is inextricably linked to centralised and authoritarian dynamics of industry and global capitalism. This view aligns with, and sometimes conflicts with, the concept of the Anthropocene Era—a geological period in which human activity has become a significant influence on Earth's systems —and is frequently invoked in contemporary social and environmental movements to highlight a new ecological awareness. In this context, humans are not just creatures living alongside nature; they are also agents capable of drastically altering ecosystems, from climate to biodiversity. Indeed, human activity in the Anthropocene Era is placing human survival on the brink of extinction, unless there are no major changes to lifestyles and resource use.

Amid these perspectives and challenges, an important question arises: What role does art have in this new era? How will artistic practices find meaning and purpose in an evolving society? The question is so complex and broad that we often find ourselves searching for guidance and references regarding the meaning and sustainability of art. In this context, “Ars Longa” is not just rhetoric; it is a call to continue fighting for art as a force capable of transcending the boundaries of space and time.

In this regard, one of the most influential contemporary thinkers was Pierre Bourdieu (1930-2002). He sought to develop a theory of practice that would lead to new ways of viewing and acting upon the social world and art. He introduced the concept of reflexive aesthetics, which triggers changes in perception and consciousness—a “metanoia”, a mental revolution, and a transformation of one's entire vision of the social world.

This Bourdieuian metanoia can be seen spreading into the realm of Global Contemporary art aesthetics, whose practice is no longer limited to aesthetics alone, but also reflects current social, political, and humanitarian conditions—or what is known as “the human condition.” In this framework, postmodernism is no longer simply “anything goes” or “art for art's sake.” Instead, art is used as a medium to discuss social issues, criticise power, and to convey sharp and meaningful social commentary. This applies not only to the visual arts but also to cinema, music, and other art forms.

I see that Bourdieu's vision even resonates with the late radical leftist thinker David Graeber (1961-2020). Graeber is arguably one of the last relevant thinkers in the context of both Society 5.0 and the Anthropocene. He believed that the ‘new generation’—which emerged in the Information Age possesses a renewed sense of socio-economic imagination and resists the status quo, as evidenced by movements such as Occupy Wall Street. His work, particularly ‘The Dawn of Everything: A New History of Humanity’ (2021), published posthumously, encourages a radical restructuring of society's social imagination to break old patterns and open the way for new possibilities. In this context, artistic practice and cultural production remain important means of dismantling and reconstructing this social imagination, even though they are often constrained by the logic of commodification and industry.

In “Another Art World Part 1,2, 3” (2019-2021), Graeber begins with a critique of Christoph Buchel’s work at the 2019 Venice Biennale, ‘Barca Nostra’, and goes on to criticise the art world, which he argues is still coloured by the legacy of Romanticism. According to Graeber, this legacy has not disappeared from the contemporary art world, but remains in the form of elitist and exclusive elements. He argues that we still believe artists to be geniuses—crazy, tormented, and full of secrets—while what has actually been lost is the belief that we are all ‘artists’.

In my reading, Graeber refers to ‘artist’ or “artistry” as a human potential that must be revived: that in the future, in a society free from institutional violence, everyone will have the capacity and opportunity to be an “artist” in their own lives. Graeber argues that the concept of freedom, which once drove the avant-garde movement, has now been subsumed by the logic of commodification—indeed, this logic has become the very definition of freedom itself. According to him, the art world remains a world of heroic individuals—as expressed by Bourdieu—who, despite following the logic of collective movements, still leave room for meaningful personal expression.

Graeber invites us to imagine the possibility of an art world that is completely different from anything we have known so far. He even suggests, what if artists used their creativity to design alternative institutional structures to capitalism? What would art for all actually look like, or a society where ‘artistry’ is part of the way of life, work, and organisation?

In the conclusion of ‘Another Art World’, Graeber promises to continue exploring this topic. Unfortunately, he passed away in 2020, just as the pandemic hit the world. I have adopted fragments of ideas from these two thinkers—Bourdieu and Graeber—who, despite their different contexts and ideologies, both agree that belief in the role of artists and ‘artistry’ as an inherent and everlasting force is part of humanity. The role of artists in society can no longer be viewed as “heroic”, but rather in terms of how artists contribute to defining the “social imagination” of society today, and in the future.

Of course, Bourdieu and Graeber represent a Western perspective that has now reached its nadir. The ‘Another Art World’ imagined by Graeber may already exist in other parts of the world, such as Indonesia, where ARTJOG has become one of the most important annual art events, an anomalous model of an art event, purely initiated and driven by artists, and has for almost 20 years accommodated and developed creative energy in the city of Yogyakarta–a city that has also built its history and image as a city of culture –where artists have a special position as citizens. ARTJOG was born at the end of the “honeymoon” decade of Reformasi in 2007, a period that sparked various civil society movements. Over the next two decades, a new generation emerged to affirm art's role in society and its enduring value.

ARTJOG itself has already addressed the current political situation in ARTJOG 2014: Legacies of Power. In light of the change in power, the ensuing chaos and uncertainty, and the slogans and utopian dreams of Indonesia Emas (Golden Indonesia), the Anxious Generation is now questioning them. While art, like humanity, may never be able to achieve utopia, its existence serves as a tool to prevent or delay the occurrence of dystopia. Ars Longa, iūdicium difficile—art is long, and judgment is difficult, but art’s existence remains part of humanity's journey in navigating a future full of challenges.

Three sub-themes were developed from these reflections under the umbrella theme of Ars Longa Trilogia, to be held over three years: Generatio, Legatum, and Mundus for ARTJOG 2026-2028.

2026
Ars Longa: Generatio (Generations)

This theme explores the meaning of art for the new generation, as well as intergenerational dialogue among artists. Generatio encourages a dialogical, interdisciplinary, and cross-generational approach, as well as artistic responses that transcend sloganistic generational discourse and representation, hierarchical categorisation (Boomers, Gen X, Millennials, Gen Z, and Gen Alpha), and the propaganda of young people as a target market demographic and algorithm that has been prevalent until now.

The issues raised include the relevance of art in social and community contexts, both in Indonesia and globally. This approach aims to explore how artists from different generations respond to ongoing socio-political challenges and dynamics, historical interpretations, and various existing changes.

Generatio: Dialogus

This section prioritises intergenerational dialogue and collaborative works addressing generational issues. In the current ecosystem, many artists from different generations and backgrounds not only create works but also expand their roles to include serving as initiators of movements, curators, teachers, drivers of art spaces or programmes, and more. This expansion of roles also positions artists as mentors, collaborators, coaches, and partners within the networks they have built, particularly with younger generations. Dialogus invites selected artists to respond to the Generatio theme by collaborating with one or more artists to present their work at ARTJOG 2026.

Generatio: Prāctica

The Prāctica segment showcases a variety of works by individual artists, reflecting diverse artistic practices, as well as the issues, discourses, and zeitgeists that are emerging among the current generation, ranging from decolonisation, materiality, technology, the digital realm, to ecology, and socio-political-economic issues that loom large today and in the future.

2027
Ars Longa: Legatum (Legacies)

This theme focuses on the term ‘legacy’, which can refer to the inheritance of artistic, cultural, and discursive values that have evolved over the history of fine arts, cultural heritage, and heritage, both in Indonesia and around the world. ‘Legacy’ can also refer to issues being passed on to future and subsequent generations. To coincide with the 20th anniversary of ARTJOG, this edition will feature a special exhibition showcasing the event’s history and archives since 2007. Legatum will also invite back the previous ARTJOG Special Commission artists from 2007 onwards. 

2028
Ars Longa: Mundus (The Worlds)

Mundus means "world," "field," or "universe." In this context, it highlights the dynamics of the contemporary art world, including internationalism, collective scenes, subcultures, and their relationships with social movements responding to current local and global issues. Mundus also summarises the Ars Longa Trilogy, demonstrating the richness and rhizomatic nature of contemporary artistic practices through artistic offerings, strategies, and working methods that address the present and future world. In line with this subtheme, ARTJOG also plans to invite international artists who have previously participated in and contributed to the ARTJOG since 2007.