KAWRUH: From Soil to Soul — The Neo-Contemporary Rise of Biennale Jogja 18 (Indonesia) By Prabuddha Ghosh (India) and Fassih Keiso (Australia)

KAWRUH: From Soil to Soul — The Neo-Contemporary Rise of Biennale Jogja 18

By Prabuddha Ghosh (India) and Fassih Keiso (Australia)

The 18th edition of Biennale Jogja, held from 5 October to 20 November 2025, returned with renewed clarity and cultural depth under the theme “KAWRUH: Tanah Lelaku / Land of Rooted Practices.” As part of the Second Round of the globally recognised Equator Series, this edition positioned itself firmly within the expanding landscape of neo-contemporary art, where tradition, locality and global dialogue intersected in sophisticated yet grounded ways.

The 18th Biennale Jogja took place in Yogyakarta, Indonesia. This city, the center of Javanese arts and culture, retains its rich customs and is governed by a unique Sultanate system. Its name, derived from the Indian city Ayodhya and the Javanese words for "fit" and "prosperous," means "a city that is fit to prosper."

Curated by Bob Edrian from Jakarta, Eva Lin of Taiwan and the Yogyakarta-based collective Ketjilbergerak, Biennale Jogja 18 re-examined the very idea of knowledge through the Javanese concept of “kawruh,” understood as wisdom shaped through lived experience, conscience and long-term engagement with land and community.

The curatorial vision of “KAWRUH” offered a compelling interpretation of art as a process deeply rooted in memory, mythology, ecology and local histories. Rather than approaching knowledge as a theoretical construct, the Biennale framed it as something that grew through daily practices, agricultural rhythms, cultural rituals and intergenerational storytelling. This philosophical foundation became a bridge linking Yogyakarta’s cultural geography with international artistic perspectives, creating a living conversation between past and present, rural and urban, local and transnational. In doing so, the Biennale proposed a model of neo-contemporary art that was global in relevance yet profoundly shaped by the landscapes and societies from which it emerged.

The spatial spread of Biennale Jogja 18 strengthened this intention. Exhibitions extended across Yogyakarta City, Bangunjiwo Village and Panggungharjo Village, activating museums, historical sites, cultural spaces and community nodes that transformed the Biennale into an immersive regional experience. Vredeburg Fort Museum and the Main Post Office hosted major urban displays, while the villages of Bangunjiwo and Panggungharjo offered intimate and socially engaged sites that emphasised connection, lived identity and collective memory. By placing significant parts of the Biennale outside typical gallery circuits, the organisers reaffirmed that contemporary art could thrive in the everyday settings where culture truly breathes.

Approximately 60 artists from Indonesia and countries across Asia, Europe and the Middle East brought a wide range of artistic languages to the event. Their works, spanning installation, performance, visual arts, archival studies, sound responses and community-driven collaborations, reflected the diversity of Global South narratives and artistic approaches. For many artists, “KAWRUH” became an invitation to revisit cultural genealogies while responding to the pressing environmental and social transformations of the present.

An important dimension of the Biennale was its commitment to public engagement. Discussions, film screenings, festivals, performances and research-led programs created opportunities for audiences to enter the conceptual world of “KAWRUH” through multiple pathways. The collaboration with Manajemen Talenta Nasional (MTN) Seni Budaya further strengthened the educational spirit of the Biennale. Through the MTN Lab residency, young artists and curators took part in masterclasses, studio visits and collaborative exhibitions at Ning Art Space and Sangkasa Gallery, contributing to a sustainable and future-ready cultural ecosystem.

The opening of Biennale Jogja 18 carried its own poetic resonance with traditional performances such as jathilan, classical dance and wayang, presented alongside contemporary works. This blend of ancestral expression and modern sensibility captured the essence of the Biennale’s neo-contemporary character, where past and present coexisted without hierarchy.

Overall, Biennale Jogja 18 presented itself with thoughtful conviction rather than grand spectacle. Its strength lay in its ability to weave community life, cultural memory and artistic experimentation into a coherent experience. While maintaining a modest scale compared to larger international biennales, it stood out for its intellectual grounding and sensitivity to local context. “KAWRUH: Land of Rooted Practices” ultimately demonstrated how contemporary art could remain innovative while staying deeply connected to the soil from which it grows.

In the quiet after its closing, Biennale Jogja 18 lingers like a pulse beneath the soil—an echo of stories reclaimed, roots rediscovered and futures reimagined. “KAWRUH” became not just an exhibition but a living testament that art, when born from land and memory, can carve new cosmologies, binding the past to the yet-unwritten horizon.

Abstract

The 18th Biennale Jogja (5 October–20 November 2025) explored the theme “KAWRUH: Tanah Lelaku / Land of Rooted Practices,” presenting a neo-contemporary vision grounded in Javanese wisdom, cultural memory and lived experience. Set in Yogyakarta, the cultural heart of Java, the Biennale examined kawruh—knowledge shaped by conscience, land and community—through exhibitions spread across the city and surrounding villages. Featuring around 60 artists from Indonesia, Asia, Europe and the Middle East, the event showcased installations, performances, visual art, archives and community collaborations that reflected Global South perspectives and responses to present-day social and environmental changes. Public programs, film screenings, discussions and the MTN residency deepened engagement and supported emerging creators. Blending traditional performances with contemporary art, Biennale Jogja 18 offered an immersive, thoughtful and culturally rooted experience, proving that innovation thrives when art remains connected to soil, memory and collective identity.

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