Untitled Document


Marinus Plantema Foundation


Untitled Document
About Marinus Plantema Foundation
Financial grants
Criteria & conditions
Privacy Statement

Supported activities

Heritage in Transition
Research Study on Raden Ajeng Kartini
VOC National Archives


Testimony - by Simon Kemper
Testimony - by Bagus Gede Krishna
Testimony - by Brigitta Isabella
Testimony - by Astuti Pitarini
Testimony - by Mira Asriningtyas

For further information please contact
Robert J.Quarles van Ufford,
the Secretary of the Foundation:

Jan van Gilselaan 4
2102 CX Heemstede
The Netherlands

E info@marinusplantemafoundation.nl




Testimony - by Mira Asriningtyas

When I decided I wanted to be an independent curator, I knew it would be a long winding road.


Being in Yogyakarta - Indonesia, with no formal contemporary art institution, my journey started from working in a performing art organization followed by an internship as curator's assistant, and write about art; but only after I ran an independent art space in 2011 I decided that I wanted to be a curator. The independent art space that I run, Lir Space, served as my curatorial platform and laboratory; supporting young artists and assisting them in preparing their first solo shows. At the same time, Lir Space also supports emerging artists who are eager to 'play' and be challenged to create an experimental exhibition out of their usual practice. The freedom of Lir Space in being a betwixt and between allows me to combine the conceptual framework of the non-art academics, alternative education system, research-based projects, and the notion of contemporary art.

Having no formal art education background make me a keen reader of art theories while continuously creating art projects, publishing my art essays, joining curator classes and intensives, while exercising in exhibition making. Yet, I find myself even more eager to learn. In Indonesia there is no academic study for curating while at that moment, I felt the urge to study art even more as a foundation to my practice. That is why I dedicate this year to educate myself; to read more and meet people, to watch good shows and take notes, and to go visiting biennale here and there when there is a chance. This year, my professional goal is set: I need to step further ahead and pass my milestones as being a professional curator while learning more specifically about contemporary art, conceptual art, and art history. I need to widen my horizon and I am eager to meet with other professionals who are working independently outside the system in a country that actually has a system.

When I got selected into De Appel Curatorial Program 2016/2017, I was ecstatic. That was the biggest opportunity I got during my career as an independent curator. De Appel Curatorial Program only accepts 6 young curators per year from all over the world for an intensive class. The Curatorial Program at De Appel Arts Centre departed from the observation that there is a gap between the more theoretical art history colloquiums and the trainings which artists receive, and the day-to-day practice of exhibition making or collaboration with artists. For that reason, De Appel started an international training programme in 1994, aimed at young or aspiring curators from all over the world, ultimately meant to bridge this gap. The Curatorial Programme course aims to introduce its participants to a wide range of professionals in the field of contemporary art: artists, curators, theoreticians and critics coming from the Netherlands as well as from the international arts field. In addition, the CP is intended to encourage the discussion about the selection, production, and presentation of contemporary art works. As the course is directly linked to a contemporary art center, the participants are closely involved in the day to day practice of making exhibitions in an international context. The programme consists of tutorials, discussions, seminars, studio visits and critical writing sessions and more practical work forms.

There was only one problem: I cannot afford the course myself. I have always independently run my art space without funding from a third party, but the cost of studying at de Appel was way beyond my monetary ability. For this program at the Appel, I had to search for financial support and that was when I heard about Marinus Plantema foundation. I had almost given up and stood on the verge of deciding whether to proceed with the process or not when suddenly the Marinus Plantema Foundation gave me the good news and financial support only a month before the program started. It is now a year after the program and I am just freshly back from Amsterdam. I am still in the process of digesting the endless state of flux that De Appel Curatorial Program was. It was a year full of possibilities, experience, and valuable learning process. For that, I can never thank enough.