Kohesi Initiatives is pleased to present Spectral Echoes; The Side of Human, a solo exhibition by Dede Cipon. The exhibition marks his first solo exhibition with the gallery, presenting a series of works which examines the nature of the cyberspace system—the invisible structures that calculate, predict, and filter what we see.

Cipon’s works emulates ‘cyberspace’ as a visual system in the form of structural elements as an extension of Cipon’s interest in how these digital processes behave. Cipon continues the series Phantom Matrix (2025), where familiar interfaces we encounter on a daily basis are subtly visible—recommended videos, curated feeds, search suggestions. The series looks into a world shaped by algorithms, whose actual forms and architectures remain out of view. His interpretation draws attention to the nature of human agency in an era of computational order, questioning what it means to live within a system we cannot fully perceive, much less control.

Cipon’s starting point for this new body of work stems from a personal observation living in a world where being online has become the default condition, where perception itself now seems shaped by interactions within the virtual world of cyberspace, mediated through vast data exchanges, interfaces, and machine processes. Rather than responding to these hidden systems through digital media that mirror them, Cipon uses drawing to represent an act of interruption. Through analog mark-making, he reintroduces human touch into what is otherwise impersonal, automated, and precise. It slows the velocity of the coded world, exposing how those structures are absorbed, distorted, and then reinterpreted. Mistranslation becomes a method that lets the distortions and small failures of these systems show themselves as they pass through a human body.

Spectral Echoes; The Side of Human considers how humans adapt to the hyper-digitalized reality surrounding them. These works are not intended as imitations of digital imagery, but as meditations on its presence within the thinking of humans. By slowing down, admitting error, and inviting contemplation within the age of relentless acceleration, Cipon attempts to understand how the systems operate and interact, and how, by looking more carefully, we might unlock another way of understanding them.

kohesi Initiatives is pleased to present [Foot Step Approach], Wimo Ambala Bayang's second solo exhibition with the gallery. Over the past twenty years, Wimo has become a distinctive voice in contemporary Indonesian photography, pushing and interpreting the medium in unexpected ways.

“[Foot Step Approach]”—a phrase laden with enigma—comes from Wimo’s personal notebook. A pair of verso–recto pages in that book is almost entirely fi lled with dense black strokes that coalesce into a thick, dark fi eld. At the bottom of the page, the phrase—bracketed by two square boxes—appears inscribed in a lighter tone. The phrase was deliberately chosen as the exhibition title not only because the drawing on that page is one of the materials Wimo has reinterpreted as a new work, but also because it functions, in signifi cant measure, as a kind of fulcrum for the curatorial reading of the exhibition as a whole.

Within this curatorial framework, footstep becomes a metaphor for three key concepts—trace, movement, and temporality. These three notions bind the works together while also re-polemicizing, from a post-Benjaminian vantage, the antagonistic relation between aura and reproducibility. Approach, meanwhile—a term whose semantic doubleness is acknowledged from the outset, oscillating between “approach” as conceptual method (a guide to thinking) and “approaching” as literal action (a mode of doing)—operates as a poetic disposition, even a poetic fi guration, in which the metaphor of the “footstep” is grasped both as a way of thinking and a way of acting.

The exhibition marks a pivotal moment in Wimo’s artistic journey, as he re-examines his archive and practice, exploring the discourse of the image and its modes of production, encompassing both image-making and image-generating. The constellation of works on view—ranging from photographic series, painting series, and mural interventions to sonic compositions and video—articulates a spectrum of artistic strategies that signal, target, and interrogate the nature of the refl exive understandings available to us with regard to contemporary visual culture, as well as the institutional mechanisms of contemporary art that at once populate and shape that culture. [Foot Step Approach] extends Wimo’s long-standing engagement with the politics of images, their circulation, and their cultural signifi cance.