Black—Hut, Encoded Motherland, the fourth “hut” in Boedi’s peri-architectural series, houses several material and symbolic explorations from his other projects. His four-line poem “Rivers and Lakes/Tanah dan Air/Land and Water/Sungai Sejarah”, a bilingual list of geographical features loaded with cultural associations, marks the installation in different manifestations - as text, signal flags, sound and DNA molecules. 

Sited at the Neka Art Museum, Ubud, the structural form draws from overlaps between the Javanese Joglo, the Chinese timber house and the European International Style architecture; and bears the recurring elements of salt-infused concrete wall membranes and an inverted gamelan soundscape. At its recessed centerpoint is an algo-generative video that reads a hybrid DNA sequence as its music score. Signal flags that encode the poem are suspended above. Conceived as a navigational structure, the installation is orientated to the cardinal points even as its open, nested cubic form deconstructs the Chinese pictographic character for return.