kohesi Initiatives is pleased to present M(a)us(ol)eum of Precious Pasts and Disposable Futures, a group exhibition bringing together eight artists whose practices examine the tension between human agency and the pervasive sense of living at the edge of an irreversible end.

Set against a backdrop of ecological, political, and existential uncertainty, the works reflect on how we continue to act, imagine, and create when the future appears foreclosed. At the core of the exhibition lies an inquiry into eschatomania—the condition of perceiving the present as suspended within an ongoing, inevitable collapse. The artists examine how confronting the past without nostalgia opens new ways of understanding both history and change, presenting memory as fragmented and contested, resisting singular narratives and fixed conclusions.

M(a)us(ol)eum of Precious Pasts and Disposable Futures assembles a constellation of artistic positions that collectively resist stagnation and fatalism. It conveys that the crisis of the present lies not in the inevitability of endings, but in the belief that the current state of the world is final. By rethinking our relationship to the past, embracing transformation, and remaining open to revision, the works invite us to reclaim a sense of agency within an uncertain future.

kohesi Initiatives is pleased to present Siluman Macan (Weretiger), a special presentation by Timoteus Anggawan Kusno. The presentation offers a glimpse into an ongoing development of the artist’s latest film project, Siluman Macan.

The presentation unfolds as an expanded process notebook. Field notes, sketches, writing fragments, design studies, technical drawings, and traces of cinematic research, these materials reveal the evolving ecology of ideas, references, and experiments that shape the project, while highlighting a recurring motif within the artist’s practice: the tiger and the weretiger as figures of ambivalence, transformation, otherness, and return. Across the works, these figures emerge as shifting metaphors through which questions of power, memory, and historical imagination are explored.

Takusno’s practice has occupied the unstable terrain between dream, memory, and history. In Siluman Macan, these concerns return through the figure of the weretiger and the entanglements it generates between myth, cinema, the unknown, and embodied experience. ‘Drawing’ functions not simply as a preparatory tool but as a method of thinking, allowing the work to remain open, provisional, and in the process of becoming.

Situated between contemporary art and cinema, Siluman Macan traces speculative futures shaped by unresolved historical residues and collective anxieties toward the unknown. These forces emerge not through direct representation but as atmospheres, gestures, rumours, protocols, and inherited ways of seeing that quietly structure social experience. The project ultimately considers how fear circulates through cultural memory, producing forms of violence long before they are recognised as such.