K. Rizq A. Naherta

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

In this variation of Project ITC, it includes an extended internet cafe area, whereby after the participants finish exchanging, they can get an access of the computers which are filled with films and other Queer Indonesian archives.

This is the reprinted magazines collaborated with Queer Indonesia Archive for the installation as well as other workshop on queer Indonesian history.

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

Project ITC is a long-term artistic initiative that goes into practicality, relationality, and community-organizing. The project creates a platform in the margins of institutions by reclaiming pre-existing space to recirculate queer production of knowledge. This pre-existing space is reclaimed and remade from a bootleg shop, specifically the ones in Jakarta, Indonesia. One part of the project is an installation and participatory work where it is redistributing majorly non-western queer films to the audience as they can exchange it with a queer story, that can be about themselves, friends, family, a community, a movement, a figure, and many others. With that, Project ITC reclaims the circulation of a bootleg shop to be queer, and a space for an informal archive collection whilst also queering education. In addition to films, the space will house archival materials from Queer Indonesia Archive which includes zines, photographs, and articles. This bootleg shop also has a traveling mini version where it is situated in a gerobak (Indonesian traveling cart). Another part of the project is the community organisings, focusing on workshops, panel talks, learning through archives, film screenings, and gatherings for queer diaspora communities especially for Southeast-Asians and Indonesians. Further positioning the project as an in-between platform, and following the theme of a bootleg shop, it is also in the margins of institutions as a way of reclamation and connecting more to marginalized communities.

Audience is invited into a kafkaesque administrative office space following prompts that tries to subvert its bureaucratic line of administration. Audience are being confronted with their own input of an ever-changing identities by the repetitive prompts of self- narration (writing, visualizing, creating, erasing, etc.). This self-narration is based on their respective mundane sceneries without needing to focus on to the participants themselves. The space invites the participants to be in-between an immigration office and a print shop –– an in-between state of the official and the unofficial sites of identity (re)production, where participants are able to create, erase, re-create, and re-erase themself.

The archival installation moves into two different spatial functions. At one time, the audience becomes an archivist, digging into the sealed plastic bags which respectively contains two books from Pramoedya Ananta Toer, a Javanese writer and essayist, and another book from Tan Malaka, a Minangnese independent guerrilla fighter and intellectual; with a written text on each of the bag revealing different correlating stories that need to be grieved and remembered, as well as power structures being noted caused by modernity that need to be critically addressed. On other time, when the loose ambient sound ends, and the sharp frequency starts – the space becomes much alive as Rizq performs acts of leisure, a self-care that is also behaving as an active force of remembrance and healing, as the sharp noise accompanied them to disrupt the way the viewers spectate into the space and the performer. Just before they unseal the bag to read with the book with mumbles, they change the camera's angle. From facing Rizq to pointing slowly to the eyes of the spectators – where they are confronted by their own gaze one by one. At the end the camera slowly away from the space.