kohesi Initiatives is pleased to present be exist: you have decided not to die, a solo exhibition by Takashi Kuribayashi. Within this exhibition, the gallery becomes new ground for trees felled by industry, a continuation of the artist’s inquiry towards where the boundary lies between human and nature.

For more than three decades, Kuribayashi’s practice has been driven by one idea: boundaries. For him, a boundary is never just a line between two sides. It is the invisible zone in between, the act of crossing back and forth, and the social and political histories hidden in the lines humans draw, from national borders to the coastlines on a map. He builds large-scale environments that the audience must physically pass through, and beneath them runs a sustained concern with the relationship between humans and nature. Here, the trees become those boundaries made visible, and visitors are asked to cross them.

Hundreds, even thousands, of industrial trees are felled. Their bark, branches, and leaves are discarded, while the trunks are taken for mass production. Kuribayashi collects what remains and reconstructs it, filling the gallery space with trees that want to live again, or at the very least remind us that they once lived and gave life to us. Natural forests now cover less than half of Indonesia’s land area. The reconstructions are far from the perfection of nature, and in this imperfection he sets the wisdom of nature against the greed of human logic. In one work in this exhibition, a tree has lost its wood entirely. Only the bark remains, wrapping an empty space filled with shards of mirror. The hollow asks what has been lost, whether it will return, and who took it.

“I only listen to the trees calling me to bring them back,” Kuribayashi says.

Alongside these trees, Kuribayashi brings together two of his long-running works. Genki-ro, named from genki (health and vitality) and genshiro (nuclear reactor), reimagines the reactor as a source of human energy and health, and grew out of his engagement with nuclear issues after the 2011 Great East Japan Earthquake and the Fukushima accident. Tanker Project imagines a tanker, usually a symbol of transporting energy and power, as a vessel carrying artists, people and nature together, where energy is emitted, absorbed, released and circulates. Both ask what energy means when seen from the human side. In the gallery, they join the trees as an open story, one that visitors complete by coming to see, experience and feel these new spaces of life.

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.