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"Makalah ilmiah akhir ini membahas situasi kerja yang tidak ideal dalam praktik magang yang saya alami di Galeri Seni. Tidak naif untuk diungkapkan bahwa praktik magang di Galeri Seni telah memberikan saya pengalaman berharga, khususnya dalam Bidang Kurasi Karya Seni—misalnya mampu mengembangkan keterampilan menulis, melatih menginterpretasikan makna dalam suatu karya seni, dan mengasah kemampuan riset. Pendekatan apprenticeship menjadi basis sentral dalam menggambarkan posisi pemagang sebagai pendatang baru yang hendak melakukan pembelajaran dengan menjadi bagian dari Galeri Seni. Namun, berdasarkan temuan dan analisis yang dilakukan, praktik magang tidak hanya tertuju pada pemerolehan keuntungan dengan mengeksplorasi berbagai hal. Tanpa disadari, praktik magang juga berpotensi membawa pada fenomena eksploitasi sehingga menyudutkan pemagang pada situasi kerja yang tidak ideal—seperti ketidaksesuaian kesepakatan kerja, kontrol berlebihan, ketimpangan relasi, dan lain sebagainya. Pendekatan apprenticeship menjadi kerangka antropologis yang mampu memproyeksikan fenomena eksplorasi dan eksploitasi yang berkelindan dan mampu menjangkau lebih detail dalam melihat fenomena persimpangan serta ketegangan dalam praktik magang di Galeri Seni.

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This final scientific paper discusses the non-ideal working situation in the apprenticeship I experienced at the Art Gallery. It would not be naive to say that my apprenticeship at an art gallery has given me valuable experience, especially in the field of curating works of art—for example, being able to develop my writing skills, practice interpreting meaning in works of art, and hone my research skills. The “apprenticeship approach” is the central basis for describing the position of apprentices as newcomers who want to do learning by becoming part of the Art Gallery. However, based on the findings and analysis conducted, apprenticeship practices are not only aimed at gaining profits by exploring various things. Unknowingly, the practice of apprenticeship also has the potential to lead to the phenomenon of exploitation, thereby cornering apprentices in non-ideal work situations—such as discrepancies in work agreements, excessive control, unequal relations, and so on. The “apprenticeship approach” becomes an anthropological framework that is able to project the intertwined phenomena of exploration and exploitation and is able to reach in more detail in viewing the phenomena of intersection and tension in the practice of apprenticeship at the Art Gallery."

"Penelitian “Galeri Nasional Indonesia dalam Pembentukan Identitas Nasional: Kajian Tentang Pameran Seni Rupa Nusantara di GNI, Jakarta, Tahun 2001-2017”, dengan pertimbangan GNI merupakan salah satu State Cultural Institutions atau Lembaga Kebudayaan Negara, selain Museum Nasional (National Museum), Perpustakaan Nasional (National Library), dan Pusat Arsip Nasional RI. Lembaga-lembaga kebudayaan tersebut berada di pusat pemerintahan selain menjadi landmark sebuah bangsa modern, juga sebagai barometer peradaban bangsa sehingga berperan signifikan dalam pembentukan Identitas Nasional. Tujuan kajian menjelaskan proses panjang pendirian GNI dan peran GNI dalam pembentukan identitas nasional melalui kebijakan Pameran Seni Rupa Nusantara (PSRN). PSRN merupakan peristiwa penting, karena sejak Indonesia merdeka, untuk pertama kalinya berhasil menyelenggarakan pameran Seni Rupa Modern Kontemporer yang melibatkan seniman dari 31 provinsi. Konsep kuratorial yang dirancang memberi ruang apresiasi bagi budaya-budaya minoritas khususnya luar Jawa Bali, dimana sebelum GNI terbentuk kurang mendapat tempat di panggung nasional. Tampaknya GNI memiliki “nilai tawar” dalam pembentukan identitas nasional melalui perkembangan seni rupa modern kontemporer Indonesia yaitu dalam mengintegrasikan potensi kelokalan dari setiap wilayah menjadi spirit keindonesiaan. Penelitian ini menggunakan metode sejarah: heuristik, verifikasi/kritik, interpretasi, dan historiografi, dengan metodologi strukturistik dan pendekatan konsep Multikulturalisme. Kebaruan dari metodologi yaitu “Exhibition History” yaitu bagaimana gerak sejarah institusi budaya dikaji melalui peristiwa Pameran Seni Rupa yang melibatkan kebijakan institusi negara, kurator dan seniman. Sumber sejarah yang utama kajian literatur, yaitu arsip, dokumen dan Katalog Pameran Seni Rupa. Metode sejarah lisan dengan pelaku sejarah menjadi penekanan riset ini. Dalam konteks substansi, kebaruan dari riset ini dapat dilihat dari lingkup kajian yaitu dinamika seni rupa Indonesia era 2000-an dan 2010-an, dengan melibatkan seni rupa luar Jawa Bali. Kajian historiografi yang dilakukan Clire Holt (seni rupa pra sejarah-1950- an) dan Helena Spajaard (1900—1995), tidak signifikan mengkaji peran seni rupa luar Jawa Bali dalam historiografi Indonesia. Sehingga dapat dikatakan kajian ini melengkapi kajian sebelumnya. Hasil kajian menunjukan (1) Proses pembentukan GNI yang terkesan lambat tak lepas dari “Political will” dari pemerintahan terkait, (2) Kesenjangan seni rupa yang terjadi sebelum GNI terbentuk tak lepas dari kebijakan Etnonasionalisme yang terjadi sebagai dampak dari sistem pemerintahan yang cenderung memusat dan hegemoni dengan menggunakan basis kelompok etnis, ras, kelompok etnis sebagai landasan berbangsa dan bernegara, (3) Peran GNI sangat sentral dalam pembentukan Identitas Nasional melalui PSRN dengan memberi ruang apresiasi kepada kebudayaan “minoritas” khususnya Seni Rupa Luar Jawa dan Bali. Dampak PSRN terhadap pembentukan identitas nasional dapat dilihat dari dua hal yaitu kesadaran para seniman pada era 2000-an dan 2010-an dalam menciptakan karya-karya yang memiliki tema kritik sosial sebagai upaya menjaga kesatuan Negara Republik Indonesia, yaitu: (a) Aktualisasi Politik: Konflik Sosial-Horizontal, Toleransi Religius, Integrasi-disintegrasi, (b) Wacana Global: Lingkungan Hidup, Sekularitas-Spiritualitas, Kabangkitan Lokal, (c) Modernitas-Kontemporer dan Keragaman-Kesatuan. Tema-tema tersebut belum ditemukenali pada kajian-kajian sebelumnya baik yang dilakukan Claire Holt dan Helena Spanjaard. Kedua terjadinya Gerakan sosial budaya khususnya di luar Jawa Bali melalui spirit solidaritas komunitas lokal. Fenomena kebangkitan multikulturalisme ini menandai gerak sejarah perkembangan seni rupa diluar Jawa-Bali. Pendekatan konsep Identitas Nasional menekankan pada gerakan ideologis untuk mencapai dan mempertahankan otonomi, persatuan, dan identitas bagi satu populasi yang anggotanya berkehendak membentuk satu bangsa secara aktual atau potensial. Gerakan ideologis yang muncul pada abad ke-21 antara lain potensi kelokalan yang dimiliki satu bangsa sebagai kekuatan baru menghadapi era globalisasi. Multikulturalisme dalam konteks PSRN upaya membangun identitas nasional melalui spirit menghargai perbedaan antara seniman idividu dan kelompok individu yang direpresentasikan melalui keterlibatan perupa dari 31 provinsi dengan berbagai karakter budaya. Melalui peristiwa budaya yaitu PSRN mereka saling berbagi pengalaman, menceritakan berbagai hambatan-hambatan sehingga lahir percaya diri dan semangat solidaritas untuk menjaga integrasi bangsa melalui Gerakan sosial budaya dan karya yang diciptakan. Ditemukenali bagaimana peran individu, kelompok individu (Kurator Seni Rupa, Seniman, Kepala GNI, Kolektor, Pelaku Seni) dan institusi (Institusi Budaya baik pemerintah dan swasta, Perguruan Tinggi, Media) secara simultan bekerja mentransformasi dan mereproduksi perubahanstruktursosial. Ketigaunsurinibekerjadalamsatustruktur, saling-dukungsebagai agen perubahan.

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The purpose of this research with title National Gallery of Indonesia in the Formation of National Identity: Research on “Nusantara Fine Art Exhibition” at GNI, Jakarta (2001- 2017)”, with the consideration that GNI is one of the State Cultural Institutions, apart from the National Museum, Library National (National Library), and the National Archives Center of the Republic of Indonesia. These cultural institutions are at the center of government apart from being the landmarks of a modern nation, as well as a barometer of the nation's civilization so that they have an important role in the formation of the National Identity. The purpose of the study is to explain the long process of establishing the GNI and the role of the GNI in the formation of national identity through the policy of the Nusantara Fine Arts Exhibition (PSRN). This research uses historical methods: heuristics, verification/criticism interpretation, and historiography, with a structure methodology and a multiculturalism concept approach. The novelty of the methodology is "Exhibition History", which is how the historical movements of cultural institutions are studied through Fine Arts Exhibition events involving policies of state institutions, curators and artists. The main historical sources for the literature review are archives, documents and catalogs of fine arts exhibitions. The method of oral history with historical actors is the emphasis of this research. In the context of substance, the novelty of this research can be seen from the scope of the study, namely the dynamics of Indonesian art in the 2000s and 2010s, involving art outside Java and Bali. The historiographical studies conducted by Claire Holt (prehistoric art-1950s) and Helena Spajaard (1900-1995), did not significantly examine the role of art outside Java and Bali in Indonesian historiography. So it can be said that this study complements the previous study. The results of the study show (1) The process of forming the GNI which seems slow is inseparable from the "Political will" of the related government, (2) The gap in the art that occurred before the GNI was formed was inseparable from the Ethnonationalism policy which occurred as a result of the government system that tended to be centralized and hegemony by using the basis of ethnicity, race and ethnic group as the basis of nation and state, (3) The role of GNI is very central in the formation of National Identity through PSRN by providing space for appreciation of “minority” cultures, especially the Fine Arts outside Java and Bali. PSRN is getting the researcher’s attention due to its correlation to a major event where for the first time since Indonesian Independence, a Modern and Contemporary “Nusantara Fine Art Exhibition” held which involved 31 provinces. In this event, the curatorial concept appreciate the development of fine arts outside Java and Bali, before the GNI was formed it did not have a place on the national stage. The curatorial concept is designed to provide space for appreciation for minority cultures, especially outside Java and Bali. It seems that GNI has a "bargaining position" in the formation of national identity through the development of contemporary Indonesian modern art, namely in integrating the local potential of each region into an Indonesian spirit. The impact of PSRN on the formation of national identity can be seen from two things, namely the awareness of artists in the 2000s and 2010s in creating works that have social criticism themes as an effort to maintain the unity of the Republic of Indonesia, namely: (a) Political Actualization: Social-Horizontal Conflict, Religious Tolerance, Integration-disintegration, (b) Global Discourse: Environment, Secularity-Spirituality, Local Awakening, (c) Modernity- Contemporary and Diversity-Unity. These themes have not been identified in previous studies conducted by Claire Holt and Helena Spanjaard. Second, the occurrence of socio-cultural movements, especially outside Java and Bali, through the spirit of local community solidarity. The phenomenon of the rise of multiculturalism marks the historical movement of the development of art outside Java-Bali. The approach to the concept of National Identity in this study emphasizes ideological movements to achieve and maintain autonomy, unity, and identity for a population whose members wish to actually or potentially form a nation. The ideological movements that have emerged in the 21st century include the local potential of one nation as a new power in facing the era of globalization. Multiculturalism in the context of PSRN attempts to build a national identity through the spirit of respecting the differences between individual artists and groups of individuals represented through the involvement of artists from 31 provinces with various cultural characters. Through a cultural event, namely PSRN, they share experiences, tell various obstacles so that confidence and a spirit of solidarity is born to maintain national integration through the socio-cultural movement and the work created. It was identified how the role of individuals, groups of individuals (Fine Arts Curators, Artists, Heads of National Human Rights, Collectors, Artists) and institutions (Cultural Institutions both government and private, Universities, Media) simultaneously work to transform and reproduce changes in social structures. These three elements work in a single structure, mutually supporting as agents of change."

"Galeri Nasional Indonesia merupakan lembaga seni rupa modern dan kontemporer di bawah Kementerian Pendidikan dan Kebudayaan. Dalam menjalankan tugas dan fungsinya, Galeri Nasional Indonesia membuka program magang pada berbagai divisi, salah satunya divisi Kurasi Karya Seni Rupa. saya bekerja sebagai pemagang dalam divisi tersebut dengan tugas membuat deskripsi makna karya seni rupa. Proses magang tidak lepas dari hambatan, saya mengalami berbagai hambatan sehingga memerlukan proses adaptasi terhadap lingkungan kerja, sistem manajemen, interaksi sosial dengan pegawai tetap dan sesama pemagang, serta kurangnya arahan atau bimbingan mentor dalam proses pengkurasian karya seni rupa. Permasalahan tersebut dapat diatasi melalui tiga proses adaptasi yaitu adaptasi perilaku, adaptasi strategi, dan adaptasi proses. Bentuk adaptasi ini diterapkan salah satunya dengan menginisiasi proses pembelajaran secara mandiri dalam menjalankan tugas pengkurasian karya seni rupa. Minimnya arahan dari mentor membuat saya mengeksplorasi ilmu yang didapat selama perkuliahan yaitu menggunakan kerangka kerja semiologi Roland Barthes sebagai bentuk adaptasi strategi dalam proses kurasi. Melalui pendekatan ini, saya membuat pendeskripsian karya seni rupa dengan melihat makna denotatif dan konotatif yang merujuk pada berbagai konstruksi makna dalam kehidupan sosial. Proses-proses yang telah dilalui di atas menjadi rangkaian adaptasi dan pembelajaran bagi saya pada dunia kerja berbasis magang.

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National Gallery of Indonesia is a modern and contemporary art institution under the Ministry of Education and Culture. It offers internship programs in various divisions, including the Curation of Fine Art Works. I work as an intern in that division with the task of making a description of the artwork's meaning. During the internship, I experienced various challenges that required a process of adaptation to the work environment, management system, social interaction with employees and fellow interns, and the lack of direction or guidance from mentors in the process of curating fine art works. These problems can be overcome through three adaptation processes, such as behavior adaptation, strategy adaptation, and process adaptation. This form of adaptation is applied, one of which is by initiating an independent learning process while doing the task of curating fine art works. The lack of guidance from the mentor made me explore and apply the concept of Barthes’ semiology in the curation process which I gained during college’s lectures. Through this approach, I made a description of fine art works by analyzing denotative and connotative meanings that refer to various constructions of meaning in social life. The processes that have been passed above have become a series of adaptations and learning for me in the world of apprentice-based work."

"Pada tgl 21 Juli 2008 yang lalu Biro sumber daya manuia (SDM) Bappenas menyelenggarakan diskusi bertema"Eksploitasi Sumber Daua Alam kapan Dominasi Asing Berakhir?"..."

"Eksploitasi gender sebagai produk dari tatanan sosial yang sudah berjalan sangat lama dan turun temurun di masyarakat telah membentuk institusi ideologis dimana perempuan menjadi sosok yang inferior jika dibandingkan dengan laki-laki. Dalam film Memoirs of a Geisha, Geisha didefinisikan sebagai penghibur perempuan Jepang yang identik dengan karakter anggun, menarik, serta memiliki keahlian dalam bidang seni tradisional Jepang. Untuk menjadi seorang Geisha yang sesuai dengan harapan masyarakat (patriarki), perempuan harus melalui beberapa proses yang memberi ruang terhadap eksploitasi yang dialami oleh perempuan. Kate Millet dalam teori Seksual Politiknya, menyatakan bahwa dalam masyarakat patriarki terdapat delapan institusi yang menjadi media untuk mengukuhkan sistem patriarki di masyarakat. Metodologi yang akan digunakan dalam penelitian ini adalah kualitatif-deskriptif. Hasil dari penelitian yang menggunakan teori Seksual Politik ini menunjukkan bahwa terdapat eksploitasi yang dialami oleh perempuan dalam prosesnya menjadi Geisha. Dari delapan bentuk eksploitasi yang dijelaskan Millet, eksploitasi perempuan dalam film Memoirs of a Geisha didukung oleh empat institusi pendukung patriarki yaitu institusi ideologi, biologi, sosiologi, dan psikologi dan kemudian terwujud dalam bentuk :manipulasi pola pikir, manipulasi perilaku, kemudian bermuara pada fenomena inferior-superiority complex.

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Gender exploitation as a product of a social order that has been running for a very long time and for generations in society and has become an ideological institution where they become inferior figures when compared to men. In film Memoirs of a Geisha, Geisha are defined as Japanese female entertainers who are synonymous with graceful, friendly, attractive characters and have expertise in traditional Japanese arts. To become a Geisha in accordance with the expectations of society (patriarchy), women must go through several processes. These social and political processes then provide room for the exploitation experienced by women. Kate Millet, in her socio-political theory, stated that in a patriarchal society, there are eight institutions which become the media to strengthen the patriarchal system in society. The methodology that will be used in this research is qualitative-descriptive. The results of this research, which uses the Political Sexual approach, show that there is exploitation experienced by women in the process of becoming Geisha. Of the eight forms of exploitation described by Millet, the exploitation of women occurs supported by four institutions supporting patriarchy, namely the institutions of ideology, biology, sociology, and psychology and then manifested in the form of: mindset manipulation, behavioral manipulation, then leading to the phenomenon of inferior-superiority complex."

"Museum and Gallery Publishing examines the theory and practice of general and scholarly publishing associated with museum and art gallery collections. Focusing on the production and reception of these texts, the book explains the relevance of publishing to the cultural, commercial and social contexts of collections and their institutions.Combining theory with case studies from around the world, Sarah Anne Hughes explores how, why and to what effect museums and galleries publish books. Covering a broad range of publishing formats and organisations, including heritage sites, libraries and temporary exhibitions, the book argues that the production and consumption of printed media within the context of collecting institutions occupies a unique and privileged role in the creation and communication of knowledge. Acknowledging that books offer functions beyond communication, Hughes argues that this places books published by museums in a unique relationship to institutions, with staff acting as producers and visitors as consumers.The logistical and ethical dimensions of museum and gallery publishing are also examined in depth, including consideration of issues such as production, the impact of digital technologies, funding and sponsorship, marketing, co-publishing, rights, and curators’ and artists’ agency.Focusing on an important but hitherto neglected topic, Museum and Gallery Publishing is key reading for researchers in the fields of museum, heritage, art and publishing studies. It will also be of interest to curators and other practitioners working in museums, heritage and science centres and art galleries."

"ABSTRAKPada suatu lokasi eksploitasi migas yang memiliki kapasitas sumur lebih besar daripada fasilitas pemrosesan ataupun permintaan gas dari pembeli, diperlukan optimasi sumur guna memaksimalkan keuntungan ekonomi dengan mempertimbangkan kandungan dari setiap sumur seperti minyak, Gas Methana & Ethana, Propana, Butana serta Pentana plus pada batasan fasilitas yang ada.Pada penelitian ini dilakukan optimasi dari laju alir produk pada sumur gas. Optimasi menggunakan metode program linier dengan penyelesaian menggunakan Software Microsoft Excel Solver. Dari hasil tersebut kemudian didapatkan kombinasi laju alir gas serta komposisi gas umpan campuran yang akan menuju fasilitas fraksinasi gas. Gas tersebut akan digunakan untuk simulasi yang menggunakan software Hysys untuk menentukan kondisi proses di fasilitas fraksinasi gas guna memaksimalkan pengambilan produk LPG dan Kondensat dan juga dapat memenuhi spesifikasi produk penjualan.Dari 32 sumur yang dilakukan optimasi didapatkan sumur X15, X16, X24, X27, X28, X30 ditutup, sumur X2 dibuka 29% sedangkan sumur lainya dibuka 100%. Total keuntungan yang didapatkan sebesar 3,198,961 USD. Sedangkan kondisi proses pada simulasi Hysys yang didapatkan yaitu temperatur reboiler pada kolom deethanizer, depropanizer serta debutanizer masing-masing 162 °, 231 °, 257 °F. Rasio Refluks pada kolom depropanizer dan debutanizer masing-masing 1.8 & 1.4. Sedangkan pada tangki stabilisasi kondensat diperoleh tekanan dan temperatur produk masing-masing 26.7 psia dan 80 °F.

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ABSTRACT

In the gas exploitation area which the wells capacity is higher then the variable of facility capacity or buyer gas demand, is needed to optimize wells opening for maximizing the revenue by considering well contents such as oil, methana, ethana, propane, butane and pentane plus at the existing facility constraints.

This research is proposed to optimize gas wells opening. The optimization methode used in this research is the linier programming run by Software Microsoft Excel adds in Solver. The result is the solution of optimized gas flow variable for every well. Gas composition also can be found by blending all wells. This gas property is used for Hysys simulation to get the process condition at the LPG & Condensate fractionation unit in order to get the maximum recovery variable and to meet product selling specification.

From optimization of 32 wells, it is found that well X15, X16, X24 ,X27, X28, X30 are closed, well X2 are opened at 29% and other wells are fully opened. The total revenue obtained is 3,198,961 USD. From Hysys simulation, it is found that temperatures reboiler at column of deethanizer, depropanizer and debutanizer are 162° , 231 °, 257 °F. Reflux ratios at the column of depropanizer and debutanizer are 1.8 & 1.4. It is also found the product pressure and temperature are 26.7 psia dan 80 °F in the condensate stabilizer tank.;In the gas exploitation area which the wells capacity is higher then the variable of facility capacity or buyer gas demand, is needed to optimize wells opening for maximizing the revenue by considering well contents such as oil, methana, ethana, propane, butane and pentane plus at the existing facility constraints.

This research is proposed to optimize gas wells opening. The optimization methode used in this research is the linier programming run by Software Microsoft Excel adds in Solver. The result is the solution of optimized gas flow variable for every well. Gas composition also can be found by blending all wells.

This gas property is used for Hysys simulation to get the process condition at the LPG & Condensate fractionation unit in order to get the maximum recovery variable and to meet product selling specification.

From optimization of 32 wells, it is found that well X15, X16, X24 ,X27, X28, X30 are closed, well X2 are opened at 29% and other wells are fully opened. The total revenue obtained is 3,198,961 USD. From Hysys simulation, it is found that temperatures reboiler at column of deethanizer, depropanizer and debutanizer are 162° , 231 °, 257 °F. Reflux ratios at the column of depropanizer and debutanizer are 1.8 & 1.4. It is also found the product pressure and temperature are 26.7 psia dan 80 °F in the condensate stabilizer tank."