Spectatorship plays on the behaviour of users who observe live-streaming. Taking the initiation from the emergent of real-time broadcasted suicidal phenomena on the digital platforms, in its presentation Spectatorship utilises 3D models and motion capture.

Spectatorship also plays on user's behaviour in responding image circulation in so called networked society; user that becomes a bystander—an observer without action. A business model that force its consumers to always addicted to attention and information results in an endless image production. Monitoring the massive volume of image circulation in the Internet is also a hard task to execute, both by a.i. or content moderators—which mostly precarious outsourced labour work from The Philippines, Indonesia and India. Live-streaming technology that can be accessed by all users expands the circulation of the images. When circulation becomes increasingly massive and the variation of visual consumed is unstoppable, the user only ends up as a passive observer. Live-streaming of suicides or murder act can make the audience accept it as only a shocking factor without having the responsibility to solve it. On the other hand, everything broadcast on the platform will continue to be stored in the cloud. Its presence is immortal.

Spectatorship visual method is heavily influenced by SACOM's offline activism.


Impraboard sculpture, 32" monitor, looping video, cable

First presentation at Media Art Week 2018: Local Genius at Taman Budaya Provinsi Sulawesi Tengah, Palu, Indonesia.

Installation view photos by Luthfan Nur Rochman.