The survival of the human race depends on the biosphere that surrounds us and supplies us with oxygen and other life-sustaining needs. Anthropologist Wade Davis posits that alongside the biosphere, we are surrounded by the ethnosphere, offering cultural oxygen essential for our intellectual sustenance. This atmosphere encapsulates a maelstrom of ideas, beliefs, myths, and attitudes prevailing in society, shaping our worldview and influencing our thoughts and actions.
In our contemporary world, individualism reigns supreme, with self-identity and interpersonal relationships at the forefront. Immediate concerns dominate our short-term thinking, fueled by a quest for instant gratification and comfort amidst constant digital distractions.
Yet, a profound shift in our mental landscape is underway. We find ourselves compelled to envision the future of humanity, compelled by the perils of technology and the depletion of natural resources. As artificial intelligence advances, we question whether the realm of limitless thinkers and rebels still exists, and whether an unexpected perspective on the future is still attainable in the face of constant change.
Drawing inspiration from Roman Krznaric’s “The Good Ancestor” (2020), this project aims to activate the mental landscape required for envisioning and contemplating what extends beyond one’s own lifetime. As an artist, the challenge lies in considering the legacy left for future generations. Beyond contemplating waste and trash, the artwork seeks to serve as a commentary on current social and political issues, contributing to a broader exploration of existential questions. The question arises: Do we need to introduce another object into this world?
In formulating these inquiries about the future, I delve into the past for insights. What contributions have our ancestors made to the world, and what lessons can we glean from them? Traditional communities, with their visions developed over extended periods, offer inspiration as they approach their ideas and beliefs with a consciousness of continuity.
‘Because Things Will Change’ is a series of eight masks representing the passage of time and envisioning what lies ahead. Only one mask is visible in the 2024 exhibition, held by a performer. Every eight years, in accordance with the Javanese calendar’s Windu cycle, a new mask will be revealed and performed with accompanying costumes. This cyclical unveiling will continue for 8 x 8 Windus, concluding in 2080. Different generations will don the costumes and masks at various times, imprinting their imaginations about the future onto the artwork.