Index
| year | title | location |
|---|---|---|
| 2026 | Raun | Denmark |
| 2024 | Lyttekor | Denmark |
| 2024 | I don't wanna cook for you | Denmark |
| 2024 | Kapauhagen | Denmark |
| 2024 | Lille Ingolf | Denmark |
| 2023 | Oliolio & Lake Garda | Denmark |
| 2022 | Flora | Denmark |
| 2021 | Deep Blue: The notion of tears in the digital age | Netherlands |
| 2021 | Drag: Single release | Netherlands |
| 2020 | The internal and external world of plants | Netherlands |
| 2020 | Could I Please Escape From The Void | Netherlands |
| 2020 | Love in Space: case study | Netherlands |
| 2019 | KABK GD Graduation festival | Netherlands |
| 2019 | Migrare | Netherlands |
| 2019 | Hidden Curriculum | Netherlands |
| 2018 | Human Library Denmark | Denmark |
| 2017 | City Displacement Tour | Netherlands |
| 2016 | Hazyland | Netherlands |
Raun, Music, 2026, Copenhagen
Indonesian
Raun adalah sebuah proyek paruh waktu hasil pertemuan kembali saya dengan musik dan kegiatan menulis lagu setelah lama terhenti, ketika saya sempat lengah dari lagu-lagu samar di kepala. Proyek ini lahir setelah datang ke negara baru dan menjalani proses menjadi seorang bapak, sambil mencerna dan mencari rasa “rumah” di tempat yang asing.
Kata “Raun” sendiri saya temui kembali ketika bekerja sebagai pengantar koran di Copenhagen. Nama pemilik alamat yang berlangganan adalah Raun. Di tempat asal saya, Riau, kata “raun” merupakan penyelewengan dari kalimat “to go around” untuk mengekspresikan makna “jalan-jalan”. Dahulu, sudah lumrah bagi orang Pekanbaru untuk berkata, “Raun yok!” saat ingin mengajak keliling dan jalan-jalan.
Raun juga menjadi usaha tanpa terlalu berusaha, di mana saya menggunakan alat-alat yang ada tanpa memaksakan diri terdengar seperti siapa pun. Saya bermain gitar atau bass sambil bernyanyi, dengan kemampuan yang dirasa cukup dan senyaman saya saja.
Mungkin alam bawah sadar saya sudah merasa ini bisa dilakukan. Ada sinkronisasi antara imajinasi lagu yang muncul dengan kemampuan bermain saya. Saya juga dipertemukan dengan sebuah gitar akustik yang masih bagus di gudang barang tak terpakai di kompleks apartemen kami. Gitar ini memudahkan saya bermain tanpa harus menggunakan ampli, yang biasanya membuat anak saya, Flora, terganggu atau takut.
Saat ini, saya juga sudah merasa lebih nyaman di tempat baru dan menjalani peran baru. Saya merasakan urgensi untuk menciptakan karya yang tidak berasal dari rasa getir atau keluhan pahit dalam beradaptasi. Saya tidak menyalahkan keadaan dan sudah berdamai. Kedamaian itulah yang ingin saya jaga.
Rasa terpenuhi muncul setelah menulis lagu pertama yang akan saya rilis sebentar lagi, sebuah lagu yang saya tulis untuk anak saya, Flora. Lagu ini dirasa harus ditulis dalam bahasa Indonesia, agar kelak ketika dia memahami bahasa bapaknya, sehingga dia juga bisa melihat saya dan dirinya sendiri lebih utuh.
Pada tahun 2021, saya merilis satu single di tengah-tengah lockdown, saat tertahan di Belanda. Saat itu, saya melakukan hampir semuanya sendiri karena dirasa perlu. Sekarang, saya ingin memperpanjang tali silaturahmi, membagi porsi energi, menemukan kejutan hasil kolaborasi, dan menanyakan kabar teman lama untuk kembali berbagi inspirasi.
Saya memutuskan untuk kembali Raun dalam musik.
English
Raun is my reunion with music and songwriting after a long pause, after a period when I let musical ideas that I use to hear in my head drift away. This project was born after I arrived in a new country and stepped into the role of a father, while trying to process and rediscover a sense of “home” in an unfamiliar place.
I came across the word Raun again while working as a newspaper carrier in Copenhagen. It was the name of one of the subscribers. Back where I’m from, in Riau, raun is a localized twist on the phrase “to go around,” used to mean going out for a stroll. It was common to hear people in Pekanbaru say, “Raun yok!” when inviting someone to wander around together.
Raun also became a practice of effort without forcing effort, using whatever tools I had, without trying to sound like anyone else. I play guitar or bass and sing within the limits that feel natural and comfortable to me.
Maybe my subconscious already knew this was possible. There’s a kind of synchronization between the songs I imagine and my actual ability to play them. I also happened to find a perfectly good acoustic guitar in the reuse room of our apartment complex. It allows me to play without an amp, which used to startle my daughter, Flora.
Now I feel more at ease in this new place and in this new role. I feel an urgency to create work that doesn’t come from bitterness or complaints about adapting. I don’t blame the circumstances anymore. I’ve made peace with them. That sense of peace is what I want to preserve.
A feeling of fulfillment came after writing the first song I’ll be releasing soon, a song for my daughter, Flora. It felt right to write it in Indonesian, so that one day, when she understands her father’s language, she can see both me and herself whole.
Back in 2021, I released a single during lockdown while I was stuck in the Netherlands. I did almost everything myself then because it felt necessary. Now, I want to extend the thread of connection again to share energy, discover the surprises that come from collaboration, and reconnect with old friends to exchange inspirations.
I’ve decided to return to go Raun in music.
Lyttekor, Identity, 2024, Copenhagen
LYTTEKOR is an artistic research project led by Tanja Diers, a PhD student at Lund University and Malmö Theater Academy, aimed at individuals who have experienced fertility treatment. Since 2011, Tanja Diers has contributed to the performing arts as a dramaturg, writer, and stage manager, participating in over 50 performances. Inspired by vibrations, frequencies, light, and Pauline Oliveros’s Deep Listening, I created the artwork and identity for this project.
The project is ongoing here.
I don't wanna cook for you, Digital collage, 2024, Copenhagen
An ongoing mind map about navigating the thoughts of fitting in and adapting
Kapauhagen, Logotype, 2024, Copenhagen
I have a chat group with some of my friends in Indonesia that studied art together. When my daughter was born one of them wrote I should put "Kapauhagen" in her name mixing the word 'Kapau' (Kapau is a specialty food stands from West Sumatra where the roots of my family came from.) and Copenhagen. He wrote it as a joke, a funny one according to the group standards. I decided to visualise it using cliché and exaggerated characteristics from both cultures.
Lille Ingolf Vuggestue, Identity, 2024, Copenhagen
One of my end-of-year projects is titled 'Daycare Rescue.' Flora's daycare received a letter from the municipality, stating that due to the forecast of fewer births in the upcoming years, they are considering closing 5-10 daycares. Interestingly, the municipality did not include any aspects of quality in the letter, despite the daycare consistently exceeding standards in its yearly reports for the past five years. With the hope of attracting more parents, I have designed the identity and marketing materials for the daycare.
Visit the website here.
Oliolio and lake Garda, Poster, 2023, Denmark
A birthday present for the lovely aunt of my wife.
Flora Asmira, invitation, 2022, Denmark
Invitation design for my daughter's name giving party
Deep Blue: The notion of tears in the digital age, book, 2021, Netherlands
Publication design for Nelli Serzanowa. A Ukrainian visual artist based in The Hague. Her creative practice explores photography boundaries through digital image manipulations and interventions, leading to the creation of allusive abstract visual imagery.
Drag, Album art & lyric video, 2021, Netherlands
During the lockdown, I produced a song and subsequently released it through streaming services. I also designed the album art, created a music video, and handled social media promotion for the release. you can listen to the song here and watch the video here
The internal and external world of plants, digital publication, 2020, Netherlands
I designed a digital publication for an event at Het Nieuwe Instituut, which included my own illustrations. The text featured in the publication was provided by Arjen Mulder, an Amsterdam-based essayist and media theorist with a background in biology.
Could I Please Escape From The Void,Website, 2020, Netherlands
I created an experimental website for the graduation project of Clémentine Boucher, an interior architecture student from KABK. The website features a tapestry overview that resembles a map, providing an interactive and innovative way to explore her project.
See the website here
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Love in Space: Case study, publication, 2020, Netherlands
Book design for Clementine Boucher.
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Graphic design graduation show, Identity, 2019, Netherlands
Together, as a team with several graduating graphic design students, guided by Agata Jaworska and Ina Hollman, we designed the identity for our department’s graduation show. In addition to curating the students' projects, I was responsible for creating 50 creatures, each representing a graduation project. We sent questionnaires to each student to categorize and map out the placement of each project, providing me with guidelines for designing the creatures. These creatures were featured as animations in the crowdfunding video, as window stickers, printed on merchandise such as t-shirts and keychains, showcased on the website, and included in the booklet.
Migrare, Documentary film, 2019, Netherlands
Filmed from God’s point of view, Migrare is a documentary featuring three undocumented people from Indonesia living inside the social structures of The Netherlands. This interview based documentary is an attempt to reveal the humanistic side of these migrants, giving the audience insight into what it is like to live without legality, what this means to them and how they see themselves inside the “illegal immigrants” stigma. Filming this movie from above made me able to hide the interviewees identity without using the traditional “pixelated face” or “black square censor” on their faces that are often applied to interview criminals or crime witnesses. it also put the viewer as more as an observer of how these undocumented migrants live in the Netherlands.
*Email me to see the full movie.
Human Library Denmark, Posters and flyers, 2018, Denmark
For the NGO Human Library Organization, I designed the event poster, flyer, and social media poster for the opening of their new Human Library in Odense. Because the Human Library Organization challenges stereotypes and prejudices through dialogue events, and this was their very first event in Odense, Denmark, they provided me with a lot of text explaining their concept, which played a significant role in the composition of my design.
City Displacement Tour, Identity, 2017, Netherlands. Collaborated with Peter van Langen
"City Displacement" is one of the five public programs presented within the "Mentality-No style" project in the context of the 100 Years of the De Stijl/Mondrian year event. Students were selected to undertake a project for the municipality of The Hague. I worked together with my classmate Peter Van Langen on this particular project. Inspired by the mentality of the De Stijl movement and the Agitation Propaganda Tour, we initiated a bus tour event around The Hague. We conducted research to identify signs of gentrification in these neighborhoods and selected six designated spots. On the bus, we invited activists to discuss and share their knowledge about gentrification. For the project, we designed posters, flyers, flags, and social media posts. We visited The Hague image library to gather old and recent images, which we used as visual language to depict transformations in these areas.
Hazyland, Documentary film and photo book, 2020, Netherlands. Collaborated with: Sam Rynearson
Hazyland brings together the voices of fellows and experts around the theme of indorock, a music genre created in the Netherlands in the rock and roll era of the 1950s. The interviews with Woody brunings, Leon Donnars and Harm Peter smilde focus in particular on the creative work of the Tielman brothers, who are seen as the pioneers of indorock. The video critically discusses the use of terminology rooted in ethnicity such as ‘indorock’ questioning whether such naming perpetuates racism.
see full movie here