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Abstract

This study examines Jompet Kuswidananto’s installation artworks as spaces that represent traumatic memory through bodily engagement and audience participation. The study employs a descriptive qualitative approach informed by Maurice Merleau-Ponty’s phenomenology and Claire Bishop’s perspective on participatory aesthetics. Data were collected through interviews with the artist and participants and through document analysis. The analysis focuses on two works, On Paradise #2 and Subterranean Thunder #1, selected for their relevance to traumatic memory, aesthetic experience, and audience participation. The findings show that both works construct experiences through relationships among objects, space, sound, light, and the audience’s body. Merleau-Ponty’s perspective demonstrates the role of the body as a perceptual medium for experiencing installation spaces, while Bishop’s perspective explains audience involvement as part of the formation of aesthetic experience. Thus, the two works not only represent traumatic memory through objects and visual narratives but also construct installation spaces that enable audiences to experience and reinterpret historical narratives through sensory and participatory engagement.

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