NOSTALGiLLA* [Celebrating The Wildness of Sign and Perception]

NOSTALGiLLA*

[Celebrating The Wildness of Sign and Perception]

‘Society’ is a sociological entity that is strong and stabile in reality, so that its members (A and D) could walk by (and/or pass) on the street without knowing each other, and such fact doesn’t affect the image that both are connected in a way.

Benedict Anderson

Funky, creative and fresh community as the trigger of madness

Nostalgia was why this community took it as its first theme to mark the launch of Joglo Seni Art Sociates in Sewon, Yogyakarta. It is proudly one of the alternative spaces birthed by the cold hands of Dr. Andonowati. Nostalgia was concurred as the exhibition’s theme simply because there were emotional bonding between them and the Joglo House. Some of them living there few moments after the earthquake hit Jogja at the end of May 2006. It was the event that gathered all these artists in order to commemorate the house they’ve lived together before. Not to forget that some of them were, even before, lived under the same roof for years; few of them were once part of “KAKUL OO GROUP”, Sanggar Dewata Indonesia – Yogyakarta, Sanggar Sakato and spent several times together in their visual arts activity. Even though they were from different backgrounds and cultures, their togetherness was always solid; as if they’re depicting Benedict Anderson’s Imagined Communities. Their strong and viscous intimacy is easily felt; it was built since they were in college and it spread out in to the thin air of their studio, which is also “centered” in a close by area, some even still live under the same roof.

Their tightness and closeness did impress me when I went to AT. Sitompul’s studio at Nitiprayan for an MOU confirmation in regards to ‘Hyperlink’, an exhibition program I curate as one of Tujuh Bintang Art Space’s agenda in July 2009. After Isya (daily Islamic praying time around 7 pm), and when my agenda confirmation was done, suddenly I remembered something. At the time, I also had an agenda of searching materials for May 2009’s exhibition program. I threw this little challenge to AT. Sitompul, “Do you guys dare to exhibit in such short preparation with the same quality of the latest exhibition at Joglo Seni Art Sociates or even crazier?” Couple minutes later, Hanif ZR (operational manager) showed up. I asked her the same thing and the next couple minutes almost all of them showed up. Two of them were left because they lived quite far. Our discussion was not sinuous at all, and not for quite a long time, we had a deal. The night, then, continued with technical issues of the exhibition ¾until dawn.

As a community labeled Nostalgia, they are far from the image of old times romanticism, sentimentality, sobby and overreactingness. They depict the cynicality of others out of their community. This is the paradox about to be revealed to the public: their own ways to handle romanticism as a crazy trigger to their creative process. It is true that they are funky, creative and always have such fresh ideas. Their perspective in art varies, unique and sometimes riveting in each committed quality; those are the best affixation amongst them. Daily-life-wise, they appear as a common Jogjanese artists; funky, dreadlocked hair, grubby, punk-haircuts, pierced, tattooed together with various accent of “decent” trendy and energic young artists. What differs them, than the others, are their creative process and their high dedications to their arts. They are young artists who are testing their own creative capacities with wild visual languages and crazier innovations.

The wildness of sign play and perceptions “tumbling”

For artists, creative process is a chain that shouldn’t be bothered by any technicality boundaries and limitations. In each creation process, artists’ tendency is on how every visual element used came out as a result in each creative process. Yet, not many artists, who are aesthetically well-baggaged, put pressure on visual aspects as representation of each contemplation and profundity of spiritual thoughts about several matters specifically and personally. This tendency is supported by the postmodernism mainstream as a counter of the lyrical and sophisticationated modernism.

Let’s look at each creative process of them as the simple step in affirming the conceptual relations of signs used in each different tends of works. AT. Sitompul, Yogyakarta – Indonesian Art Institute (2007) printmaking graduate, is a potential figure in the conquering effort of his crazy creative obsessions that delights us in every read of his creative works lately. His ‘addiction’ of lines triggers his own guts in such always perfectionists pattern of his creative process that, in the end, plays with our emotions and perceptions through optical illusions that spaced in marches of his lines. Tompul seemed to act radical in his tough effort in bringing down the technical problems; which he treated as if it’s a sacred ritual that keeps going deeper and sharper in his sensibility. Again, when it’s believed as a ritual, the pattern of enjoyment looks distanced from its appearance aspects yet vibrated with its spiritual issues that, latter, appear as a birth of a new certain unpredictable power. This is the belief that he gave certain depth to share with us. Another interesting point is; Tompul depicts the stigma of technical complexity in printmaking that was known as the repressor of expressions, even by that it means that he kneeled down to such stigma. The stigma about the limited medium of expression, which from time to time had always been blamed on the paper as a medium of printings that creates such problem. He broke such dogma through printing works on canvases. Both the printing process that was always considered as “failed” on canvases and the stigma of printmaking’s “inexclusiveness” due to its copy of its result; was successfully turned as a certain exclusiveness. We can check his creative effort in the printed series of limited hand coloring. At least, he tried hard to open the tight taps and gave such access on the cynical market’s discourses on printmaking. At the same time, his effort did penetrate in to the market’s discourse, to look further in certain perspectives of such potentiality.

The keyword on seeing Tompul’s work is to be in the stage of non-representational objects that are supposed to be referred in order to transform his conception. He is so persistent, that he could freely play with hidden images in each representation of his ideas. There’s an extraordinary creative effort coming out of AT. Sitompul; he, whose agitation is read in certain minor and rather alienated spaces, freed the psychological aspects of many options of his reader in the issue of rigid psychological humanism. He played his creative role in visual languages that could affect our psychological aspects on visual objects that appears as representation of his personal ideas. The state of never being satisfied in playing with his own interest on exploiting his visual with the intention of mixing-up our emotion and cutting of our nerve system with such eye contraction led to the appearances of new forms both in the same and different times or, with certain distance, optical illusions. In time, these works will lead us to more sharpened eye sensitivity or even blew the power of our retina that seemed to be limited in enjoying such lyrical or sophisticated works of art. This kind of power, which was inherited and spread through the tendency of non-representational artworks ever since the emergence of abstract to optical art between 1950’s – 1960’s, resulted few important names in such discourse: say Victor Vassrely and Bridget Riley, who pressured on the line element and geometrical shapes that played in certain depths of unlimited, untouchable illusional spaces.

Here, AT. Sitompul, who actually exists there, freed himself from the old paradigm and made a break through his new paradigm; through the vehicle of contemporary visual art that he considered as the most neutral position for him to express his crazy ideas in sharpening spiritual sides in a more simplified context. Lines, to him, is some sort of a spiritual exercise that is marked to his canvases with such perfection; it reminds us the act of a bhikkhu in following the trails of Buddha’s dharma in order to reach nirvana. The representation of his lines drew our understandings about a fresh aesthetical power, not only an aesthetical element.

AT. Sitompul through his monotype printmaking treats lines as a representation of the understandings of his contemplative rituals and psychological fluctuation about life issues. In his understanding of psycho-visual, it is interesting because he freely plays through his aesthetic explorations and, in relation to the emotion of the viewers of his works, with his innovative and vibrative game of optical illusions. The most specific thing I see in his creative process is his craftsmanship in manifesting feelings and emotions through the fluidity of playing with thousand constant lines in such constant emotional state that kept his expression in certain areas that then shows his smartness in offering new-founds of printmaking technical solutions that other artists mostly missed. Tompul has such charm in most of his artworks. This is something, I guess, he realized and used as the power in positioning his works of art to his rivalry. And, another uniqueness of him is that he stayed on the ground of exploring local geniuses’ value in which he was brought up, with the tradition of Eastern aesthetical perspective. Look at how he unconsciously still explore the philosophy of ulos [a North Sumatran famous shawl with specifically made (and patterned) textile], several influences from the Japanese textile, decorative elements of Chinese coins or Sari cloth of India which is reduced on to his representations or visual languages. Such thing is the influence of local culture aspects that has been in his sight and understandings in everyday life.

This kind of simple criticism Tompul wanted to declare immediately; with variety of things on it. Is it not spirituality that vibrates around with tenderness and simplicity? Is it not the increasingly strong spirituality and depth launched in to the earth almost without senses? We should question the top of the spirituality gist in ourselves. Through his works, seemed that AT. Sitompul brought up the spirit of humanism placed on the personal and social space, but at the same time carries the power of its 'disturbance' by playing with the emotions in the potency of public readings of his work to interfere and poke certain social and cultural space to imply many problems due to the existence of humanism. Critical spaces that do not seem to be left out in the general phenomenon that tends to overthrow his community tips solubility in psychology appear increasingly vulnerable. He is getting deeper, and deeper, in the compound and sign language games and play-relations on the relations of signs as his scalpel in sharpening his creative process.

Kadek Agus Mediana/ Cupruk, is on a different trajectory that spread his wild ideas and expressions based on the observation of the subject matter in non-prevalent ways. He made his studio as a small laboratory to identify, understand deep into the characteristics and activities of the object; and at the same time stimulate sensitively-trained emotional relationship with the object he observed; 'bluebottle'. He continuously receive complaints from his colleagues in the same studio when he ‘played’ with a rat’s tail [as a stimulant] placed in the corner of the room, or even in his own room, with the typical aroma of dead sting. He acted as if he has an emotional relationship with the bluebottle that he is obliged to feed it. It was a simple reason, that he wanted to know the trend that made bluebottles came when he served rat tail, burger, doughnut, eat the rest of the garbage, fruit, fresh fruit, chocolate or slices of pizzas. He intensely investigates the bluebottle ethnographically, as if he’s an anthropologist. Up-until he knew the type and specification of the bluebottle that would immediately come out of specific rotten smell, even when he visited the studio to his friends. In another perspective, I caught a perturbation of a Cupruk who wants to be hooked on public space and the exploration of a variety of treatment based on the consciousness of having a right and wanting to hit a number of essences. As a basic material in the process iconic-symbolization, this is valuable; especially with the personification or simply representative juxtapositions, like 'intellectual capital', proportionate to the inverse of social capital. It is not excessive, if the fluidity of his relationship continues on understanding the emotional side and sharpens the creative process; which, in then end, will make his observed objects as the soul in every creative process.

He seems to want to play with hypothesis, either to break or to ensure, that public’s stigma on bluebottle’s image that is closely associated to rottenness, disgusts, and other things that are not so important; is on the contrary is very important for his exploration and exploitation as the medium for an icon, or say a keyword, in presenting a metaphor for the issues that bothered him. He has obtained a result of his hard work, several times, such as ‘Freedom' Finalists Moon Decor Painting Festival 2008, Finalists Radar Bali Art Award 2008 and Jakarta Art Awards Finalists 2008. At that time, I was very disturbed with his ingenuity and critical attitude towards our country today with the 'Indonesia in the sack', a metaphor that Cupruk ‘yelled’ interestingly. To put the keywords Indonesia and sack, which both have different commentary, is extraordinary. Cupruk wanted to persevere with the discourse of the good image dignity withdrew far from rotten garbage; which makes the appearance of bluebottles around connotates to disgust. As how bluebottles, Cupruk, and the society, sees them on trashes, garbage, and shit. Another interesting work is the 'Dead in a cup of Balinese coffee' 162cmx181cm, acrylic on canvas, 2008; in a glance, the icon of dead bluebottle in a cup of last-night’s coffee draws our attention and curiosity. We then think why it is interesting a bluebottle also want to taste until it killed itself in a cup of coffee. But referring to the 'Balinese Coffee'; this must be different! Why Bali? A strong impression came, right when I read the painting after the confirmation of its title. His critical side made this work interesting and principled to resemble the disappointment of unsaid things. There is a kind of personal concerns with his local genius. He seems to be nervous with the local charm of Bali; and for him it is as a pool of deadly delicious taste. For me, reading this is just a speculation-based semiology that could, of course, still be corrected any time. Just think of me as some sort of a tongue extension of Cupruk in articulating his contemplation as a new thesis certainly which valid whenever an antithesis appear.

In this exhibition, with a softer expression, he seems to want to scan the urban community’s problem in sterile packaging. A theme of urban culture and society packed with the visual aspects of a typical Cupruk, 'Hiegenis', 130x110cm, acrylic on canvas, 2009. Cupruk saw a significant cultural change in urban communities; youth girls in villages (so hygienic), when faced to the city and urban culture, suddenly make-over all their appearances and even cerebrations, which he considers as a packaging of all kinds of fake. An icon on food packaging, or a fruit packaging, he took from Hanif ZR (his manager), which was a fresh strawberry hygienically packaged with exclusive barcodes, was captured as a signal of popular product packaging in the discourse on urban culture that are all wrapped up with with impersonate enamors of care of health that are completely sterile.

His worries are some sort of a general awareness that appears when productive aged girls enter the workforce in the region such as working as domestic workers, factory workers or Sales Promotions from beauty products to food and cigarettes; they always changed into the personality wrapped in city-lipsticks that seemed to clear yet is used to cover certain rottenness. Moreover, by labeling and pricing on the packaging, they turn to multiple interpretations. Reading 'Love Ice' which talks about a romantic space in the food ordering’s bill, yet again a fly perched on top of the sexy ice cream. There is such an important note, that where there are certain precious aesthetic moments that creates beautiful memories, a love story always has its problems, or other matters that threats the sustainability of its romance. This happens also in the love story of other young colleagues, especially in the Rendra C.O.

Afdhal now explores the aspects of humanistic in ecological perspectives. This can be tracked down to the his dozens of latest works that are inspired by nature and human relationships as a key aspect in the process, subject matter, in some painting and three-dimensional works and installations frequently appeared 'Soul Series Biological Control' as a feature of his works. He seemed a bit depressed observing the nature’s border of patience for providing exceptional natural resources in order to serve human resources; yet humans never seemed to be satisfied in exploiting it. According to him, humans are greedy and reckless in conducting nature exploration. They don’t consider that nature requires certain balance; so that when on one hand it’s being explored, the other would need conservation.

Afdhal’s love of environment started from the romance of childhood to adolescence; at the times he often cut through villages and forests to climb the mountain. This is where his proximity to the ecological issues started as a basic ideology into his process of creation. His sensitivity grew even more powerful when he had enough critical awareness to dismantle the dominance capitalism that destroyed the biological balance. In the end, he realizes the existence of such forms of human ideology war. Similar disappointment then made Afdhal intensely perform conceptual explorations in order to quickly formulate his critical ideas against the damage and destruction of ecosystems. His disappointments are shown when he explained about humans’ speculative war of ideologies, which is not only happening on simple issues, but, now, even the existence of God is being questioned and keep growing unclear.

Interesting connecting thoughts between Afdhal’s works doesn’t seem to be enough without having the opportunity to explore the represented integral aesthetic impressions in his works. In the series of the same feature, through his paintings he opened the entrance gate for us to immediately understand his hubbub feeling. Here and there appear chalky pale colors as if he panicky says things in a completely uncertain ways, even in speckled mossy cliffs. Icons appear in between the steep cliffs just like door-slits/trellised window, reminding us of the stony cemetery in Tana Toraja. It flew me to the shadows of several years ago when I explored the Japanese 'Cave' hole in Bukit Tinggi, West Sumatra. A strange mystical-spooky feeling came to me at the moment I found the execution spot at the end of the cave. There was a narrow hole that is so narrow that it only fits for a human body. The hole was functioned as a disposal channel for dead bodies; it ends to a hole out in the canyon cliffs, Sianok. The next morning, Sianok villagers would see one of their family members dead; and had experienced a series of torment before the execution. Trellised hole, as an icon in the works of Afdhal, is a personification of human problems that actually exist in such spatial system when it comes to haphazardly treating the nature.

Let’s switch to the next sign; carpet grass brown as if he dreams about spelling such romantic view of nature which is no longer green. Dead dry, that’s what he wanted to state. Human figure holding a green stem and white winged wood, as the main figure, looks as if it’s moving quickly to cut through the greenhouse and massive walls; relations of signs signifying an intimate rush to redeem solidity and rigidity of glasshouses. Green winged human figure could be interpreted as a savior figure that had the task of maintaining the earth's natural balance of earth and plant.

So as the works in three-dimensional series, it features similar problems; symbolically, Afdhal brought up the green human figure and water tap with stainless steel pipes that is specially treated that it looks like a cobra. Not much of a speaker, he subtly suggest his ideas on moving our spiritual space in the context of water as source of life, or the most basic needs for all the quick fulfillment of all your needs from the most simple to the needs of a colossal one. Water and the role of the water tap are truly controlled by patterns and human behavior (which is represented through the green human figure) that has a high awareness in controlling the balance of natural cycle. This is not an interesting visual aesthetic value, yet it carries such a philosophical message in the sense of humanistic awareness. In general, his works suggests the impression that he inspires all of us to inherit his soul and sensitivity in controlling the living nature. So, at least we should realize how we should face the issues of global warming has become the world's population problem.

This tone was also mentioned by SH. Joko Atmaja; he was so disappointed with the changes of ecosystem and the environment around his house ¾hotter, more crowd, higher pollution levels and acute humanistic awareness. He seems to want to scan humans’ daily obsessions. Such obsessions that seemed to skip every human’s consciousness that they truly are preparing themselves as victioms of towered selfishly built towers.

‘Menara Tumbal’ (literally translated as victim’s tower) carries the feature that often appears in his latest works. He wanted to share the consciousness that when people build their dream as if building a tower of achievement and triumph that it might lead to being a victim of failure. Such image is reinforced by other visual aspects like thick black smoke, the redden sky, clown figure, cut head, factories and lofty residential buildings. His worries and panics concerns on global warming as a logical consequence of the mischievous act of exploring the nature for certain obsessions ¾consequences of the world's most sophisticated technology-oriented environment without the act of balancing. Even for the needs of life, such as the air we breathe, is often ignored by the excessive production of carbon dioxide. As a result, health is also threatened, and then such person unwittingly becomes the victim of the tower-tower of cockiness.

Joko’s drawings are very interesting, both in the process (techniques and media) and such powered conception that gave him a good bargaining position. I read about how Joko could get crazy on his glide-lines on the tip of his pen that runs through the vein of form along with the pop odyssey of his imaginations on the issue referred. His visual exploration is very unique and the imagery of architectural teemed spaces. No to forget to emphasize on his added spicy colors here and there, he reconfirms his theme strictly in the middle, just as a blade that is believed to blend such innovative work.

I Made Adinata Mahendra/ Benot; in a glimpse read, his works appears to be about paradoxes; excessive in one hand, yet lack of a difference in the other. How the Elpiji (brand of a cooking gas) converged as a problem in saving the energy issue. In several communities, our fellow citizens were never ready with the policy of fuel price raise, that impacts everywhere; yet the solution of launching BLT also still reaps the technical and educational sagginess effect. Mahendra is so careful in observing the social problem concerning the consumption of proteins in our culture, which is relatively low. This is simply because of the inadequate purchase-power of our society. However, it is ironic when he found specific details about the problems surround us; we seem to never get enough satisfaction, except for disappointments, in this country that actually has abundant fish, ponds, pond fishes, sources of high-protein vegetable that remains “unfound”. We even have few cases of nutritional-lacking and other similar cases.

It seems simple to look at the 'Green Energy Diagnosis', 280x299cm, acrylic on canvas, 2009; an interesting scenery with tube of green petroleum gas here and there that reaps many problems. From small explosions to explosions that causes hundred victims in various regions. Gas tubes that are presented with the image of fresh fish’ meat cut exactly in the middle; as if he wanted to, again, problemize protein. He once expressed his curiosity on what’s inside the gas tube: how it is shaped and what color is it. It might seem silly in a glance, but to make an exploration, this kind of curiosity is a distinctive start. Immediately we can see the text 'Green Energy Diagnostic' as a semantic meaning on this.

Rendra C.O, preferred experience as his basic inspiration for most of his presented works. Most are triggered by disappointment and downfalls of his love life. Prolonging his buried past, he likes to once in a while turn back to memories of his past romantic moments with beautiful women in his life, even if it sometimes feels bitter. I had a catch of Rendra’s statement; the most beloved women that he still dreams about is the one he called ‘whore’; I don’t know whatever it is that’s going on inside his head.

At first I couldn’t understand his messy feelings, until he stated the stigma that he is going to lift-paced his problematical love life as his material of exploration for his final project in Yogyakarta – Indonesian Art Institute. Rendra is capable of picking certain emotional upheavals in his memories and converged it to such strength to sharpen his critical aspect. It is combined with his ability in managing visual aspects that made his whole feelings represented. In 'Green Stocking', 200x100cm, acrylic on canvas, 2009, he appears to have a viscosity relationship with his bitter emotional memories. ‘Green Stocking’ is a symbol of the female figure that is pleased to share “happiness” though her heart is chipply sliced. Rendra represent a woman figure wearing green stocking in “hot room” colored red with a black frame as commercial sex workers. And, the playboy icon/ symbol is added on her arms; it firmly state a certain lifestyle and freedom of the glamorous night world.

Mirza Al Rasyid; through previous works, Al mentioned such romanticism through outlets of smooth brushstrokes that describe the atmosphere of sea that expressively moves to a certain corner. He set up an imaginative building with winds and pounding waves in order to build a strong atmosphere. In this series, Al shared gained freedom and fantasy of his wild ideas openly. Such romance that attends on the surface sprinkles some sentimental feeling of macho Al. Seems that works like this are interesting to be explored on its strength, yet needed certain accuracy in content and artistic aspects of its whole ¾that is not simple.

The subject matter of Al’s recent works is brain; themed 'brain virus', he acts as if he is right about the various paradigms of our society about the human perspective that he always view from the positive sides; social status, intellectuality and trivial things outside himself. He no longer cares on how the world views him, but more to how he looks at the world. It shows Al’s strategic position to freely stand outside imbalance and naïf problems when the world looks at him. There is some sort of psychological aspects in the works of Al that spreads out. His worries resentments appear in colors and brushstrokes character; it leaves the impression of a certain burden. Or, as the contrary, Al uses such images as the strength of his works.

Unlike the image of AT. Sitompul’s works in playing with perceptions of optical illusions with nooses, I Gusti Ngurah Arya Udianata/ Rahman moves to the area of perception with a capacity of being cool. He touches the surface of our retina without pressing us to the level of a serious contraction. It is the soft touch of vision that sends his interpretative messages to the sensitive wall of our feelings to immediately translate all aspects of the visual signs on his work, 'Focus', 2008. Impressions that Rahman gave insists us to play with our emotions; as well as those around him, on the matter transitoriness of time and our orientation in the visual object however simple.

He often exploits stubs of canvases that have been painted, then he break or fold it. Marks in it acts only as the visual aspects of the game. It is simply because all the paintings is flawless, especially the snag of its canvas with such indignant and pity feeling. Realistic impressions appear to spit out such strong views; we’re given some space to orientate certain visuals. A painting that seems to loose several sides; the wrinkled canvas and the strong wood impression in the imagination built our spatial impression. His 'Gaza Strip' is an extraordinary artistic piece, which matches his critical construction that was indicated by humanist spiritual awareness.

Pande Nyoman Alit/ Dj; his performance as a punker becomes only as a label if we recall the game he played with his perceptions on spaces. Dj concerns on using simple, non-grandiose, themes; yet, it is truly a fundamental philosophy. His ideas come from daily life and parts of his life. His beloved dog repeatedly becomes his never-ending source of inspiration; from the emergence of two-dimensional patterns to the three-dimensional image region. There is also a work that presents the image of the rectangle shapes on the outside of an object with dog motives as its gift-wrap.

All of his works rams our perception of space; classified to two and three-dimensional. A painting for example, commonly called a painting when presenting the two-dimensional image, or the tendency of three-dimensional works are those who have volumes. Dj resists such simple departure. It started from his inspiration that was triggered by the patterns of tattoo (body art), where the tattoo artist never thought of creating three-dimensional works; only drawing on a surface just like on canvas as such a conventional media of paintings. I think he’s playing with the madness of his own idea to build a new paradigm.

Dj now presents his latest work, 'Nostalgia ASU'. He explored the form of ships with rounded eyelet hole with crowned with the names of his Nostalgia community partners. He described his community as if it’s a big family that should protect each other, collaborate, share and have the same commitment and in for the ocean of life. In three-dimensional works, he uses his high-skilled painting techniques to draw prismatic, rectangular or other (three-dimensional) geometrical shapes. There are also works that go beyond regular painting techniques, combined with other forms such as statues or dog puppet to encourage his creational idea. Trying to break through impasse, Dj’s painting, until today, hasn’t graduated him from Yogyakarta’s Indonesian Art Institute. The reason is about 'the creative box', modern art activities and paradigm referred as a something that in visual arts still believed as something to be devoted to.

Finally, I am happy and proud to have the opportunity to read their best works, which are so extraordinary. Visual arts mapping will soon be splendored with the presence of their best works. Let’s wait for their next wild ideas; I believe that they have a great opportunity.

Yogyakarta, 22 April 2009

Netok Sawiji_Rusnoto Susanto

- visual artist, student of graduate program of Yogyakarta’s Indonesian Art Institute

- lecturer in Jakarta Governement’s University

email: m_rusnoto@yahoo.com web. : www.netoksawiji.com

* The title, Nostalgilla, is an Indonesian play word that was originated from “nostalgia” and “gila” (means: crazy). To translate it literary, the play word means: craziness of nostalgia.