About
“Rottenness is a condition that every organic being is bound to, the intrinsic change of the matter that is crucial for ecological renewal. Yet, this is extremely marginalized by hegemonic society. With Rotten TV we would like to expand in many directions this state and the perspective around it by developing partnership with cultural institutions and creators from South America, Indonesian archipelago, and the U.K.”
Daniel Lie, Lead Artist
Rotten TV is an online broadcasting research platform that studies the idea of Rottenness, led by Daniel Lie. The project weaves together wide-ranging notions of rottenness by artists and thinkers from Indonesia, South America, and the UK articulate ideas that expand from the symbolisms present in rotting.
This project is made possible through a partnership between Jupiter Artland (Scotland), Cemeti Institute for Arts and Society (Indonesia) and Casa do Povo (Brazil), coordinated by artist Daniel Lie and supported by The British Council Digital Collaboration fund.
“Societal rottenness, ecological rottenness and spiritual rottenness are the good bad and ugly of contemporary life. This project lifts the lid on the unexpected.”
Nicky Wilson, Director at Jupiter Artland
Each institution is taking a deeper analysis on the subject of Rottenness and framing it as a curatorial approach. Working alongside Ama Josephine Budge and David Mande, Jupiter Artland is exploring rottenness from a decolonial perspective and a critical analysis of rotten energy sources. Casa do Povo takes an environmental approach and is developing dialogue with mycology, queer ecology, and native indigenous perspectives. Cemeti Institute is thinking about the transformation that rottenness holds in relation to the layers of the body, from the rituals of death, who has the right for it, and the manifestation of it in the digital form.
“This project has a focus on unlearning by multiple approaches to a common theme. In this journey there will be an active production from mycologist, first nation creators, gender non-conforming and decolonial practitioners, queer ecologists, artists from multilanguage skills and many more. We understand that bringing diversity to the thematic may facilitate the process of demarginalizing it. As we embarked in this process, I often had a common question – What is rottenness? Since we started our creative process one quote that emerged from conversations stays with me very much – In the environment, what does not rot, is the problem.”
Daniel Lie, Lead Artist
“It has become so apparent, working alongside Daniel, that rottenness is everywhere, and it’s incredible to think how negatively rot and rottenness is placed within different cultures etymology and society whilst possessing so much power.”
Eleanor Edmondson, Digital Arts at Jupiter Artland
Rotten TV will showcase a diversity of languages of art and communication alongside 69 Performance Club, Adam Moore, Ama Josephine Budge, Brigitte Baptiste, Dini Adanurani, Dwi Oblo, Enka Komariah, Gelar Soemantri, Giuliana Furci, Jessica Ayudya Lesamana, Joned Suryatmoko, Nuraini Juliastuti, Otniel Tasman, Otty Widasari, Prashasti Wilujeng Putri, Takumã Kuikoro, and Tri Subagya – and more to be announced.
The official release took place on November 4, 2021, with Episode 1: DeComposure, by Ama Josephine Budge. Each new episode will be released on a weekly basis starting July 19, 2022.
Be sure to follow along at www.rotten.tv.
Contributors
Daniel Lie
Daniel Lie, (they/them) is a Brazilian-Indonesian artist whose practice explores time, lifecycles, and decay. Through installations, objects, and the hybridization of languages of art, Lie’s work questions the relationship between science, religion, ancestry, present, life and death. Lie has exhibited at galleries across the world including in Brazil, Austria, Germany, China, and London.
Claire Feeley
Claire Feeley, (she/her). A curator, writer, and producer, Claire has devised exhibition projects, curatorial programmes and public artworks globally through her roles at British Council, the Barbican, Oslo Pilot, Folkestone Triennial, Situations and the Serpentine Gallery, as well as independently through self-initiated platforms. She is currently Head of Exhibitions and Learning Programmes at Jupiter Artland, where she works across a programme of permanent commissions, gallery exhibitions, special projects and festivals.
Eleanor Edmondson
Eleanor Edmondson, (she/her) is an artist, curator, and digital arts marketer based in Edinburgh. Alongside her own practice, and based on her research in social engagement, Eleanor has coordinated a number of residencies which all move to open up access and promotion within the art world. She is currently working as the Arts and Communications Manager at Jupiter Artland, where she has coordinated the project between Jupiter Artland, Casa Do Povo and Cemeti Institute for Art and Life to coincide with COP26 in Glasgow.
Ragil Huda
Ragil Huda (he/him) is a curator, cultural practitioner, and graduate student at the Asien-Afrika Institut, Universität Hamburg. He is also one of the committees organizing the international platform and network called ‘Queer’ Asia in Berlin. His community engagement and academic work specifically centre on queerness, community building, critical pedagogy, and the social-political realities of marginalized communities through various methodologies and collaborative curatorial practices.
Rush Johnstone
Rush Johnstone (they/them) is a designer/developer who specialises in creating experimental and creative interactive artefacts. They like to think and learn about technology discourse, politics, imagined futures, and how those intersect.
Ruli Moretti
Ruli Moretti (she/her) is an independent curator, cultural manager and editor. She lives and works in the north of Brazil since 2012, from where she has collaborated and organized independent and institutional projects that bet on the democratization of the access to arts as a means of promoting encounter and collective experience. Currently, she has investigated the role of written texts in contemporary art practices, and how it operates as a specific medium with discursive and fictional possibilities of its own. In parallel, Ruli has worked directly with artists in exploring, broadening and understanding their creative processes and writing practices.
