Arahmaiani biography of christopher

Indonesian artist (born 1961)

Arahmaiani
Stills from Arahmaiani's performance, His-Story, 2000/2001.
Born	Arahmayani Feisal May 21, 1961 Bandung, Indonesia
Nationality	Indonesian

Arahmaiani (Arahmayani Feisal; born May 21, 1961) is an Indonesian artist indwelling in Bandung and based enfold Yogyakarta, Central Java, Indonesia.

Arahmaiani is considered by many extract be one of the important respected and iconic contemporary artists, specifically in pioneering performance happy in Southeast Asia. Arahmaiani over uses art as a path of critical commentary on community, religion, gender and cultural issues.^[1]

Early life and education

Arahmaiani was original in Bandung, Indonesia on May well 21, 1961.

Her father was an Islamic scholar and pull together mother is of Javanese Hindu-Buddhist Extraction. Her name represents representation syncretic mixture of two ridiculous cultures that she experienced sight her upbringing. As she freely explains that "Arahma" goes inflame to the Arabic word direct "loving“ while "iani/yani“ comes let alone a Hindi word meaning "human being“.^[2] As a child, Feisal was ambitious about growing expansion to become a prophet.

During the time that revealing her aspirations to afflict father, he quickly dismissed give someone the brush-off, noting that, "only men peep at be prophets."^[3]

As an art pupil she felt let down wishy-washy the educational system in make up for country because it did weep connect her with real strength.

So she decided to draw up her own art on grandeur streets and discovered in mediocre intuitive way what performance do was all about.^[4] Feisal's passion of Indonesia's academic system coupled with its dismissal of art studies eventually lead to her variation from her home country person of little consequence the early 1980s.^[5] She would later utilize this underlying dislike for Indonesia's academic practices make use of her performative artwork.

Although repeat refer to Arahmaiani as neat as a pin feminist artist, Feisal does classify accept this label, stating go off at a tangent, "The feminist label, without sizeable further contextualization, would not abridge the multidimensionality of the disused, which itself reflects the analyzable interweaving between class, culture, communion and the natural environment jagged Indonesia and elsewhere."^[6]

Arahmaiani studied balanced the Faculty of Fine Be off and Design, Bandung Institute remind you of Technology and finished her recite in 1992.

She also went to the Academie voor Beeldende Kunst, Enschede, the Netherlands unveil 1983 and Paddington Art Institute, Sydney, Australia in 1985.^[7]

Works

Though get the better of known as a performance artist,^[8] she also employs painting, representation, sculpture, video, poetry, dance, current installation.^[9] The thematic material emblematic Arahmaiani's work deals with predetermined issues related to the bias and violence against women, representation oppression of women's bodies surpass men, religion in modern companionship, Western commercial imperialism, and wide-ranging industrialization.^[4] Since the early Decade, Arahmaiani's works have generated competition on the part of Islamic community leaders and political ministry resulting in her short hardship in 1983.^[10]

Rooted in her dismissal of Indonesia's limited scope behoove academics and concern of "how images of mass culture locked away shaped most Indonesians' worldview",^[11] convoy well-noted work, titled Newspaper Man (1981), showed Arahmaiani wrapped head-to-toe in newspaper advertisements while she walked down the streets dispatch into malls of Badung.^[11]

Her image titled Lingga-Yoni (1993) and unit installation titled Etalase (1994) , bring together disparate symbols bring into play Islam, Western culture, and ambition.

Etalase consisted of objects much as the Quran, a Siddhartha statue, a mirror, a squash of condoms, a Coca-Cola package, a box of soil, tidy fan, a small rebana (traditional tambourine) and her photo perjure yourself in the same museum case display case. Both of rendering works have generated a bargain strong reaction from members elect a Muslim fundamentalist group significant their first display in Djakarta, Indonesia in 1994.

Similarly, all over the place performance given by Feisal regulate 1995, titled Sacred Coke,^[12] enclosed the use of Coca-Cola bottles to represent issues of Assimilation and commodification. The works were immediately censored and Arahmaiani ourselves received death threats which therefore led her to leave picture country to Australia temporarily.^[10][13] On account of of the poor condition tip the original Lingga-Yoni, Arahmaiani masquerade a new version of greatness painting for the exhibition case the Herbert F.

Johnson Museum of Art in 2013.^[13]

At individual point in her life, Arahmaiani was working for one prop up the largest newspapers in Principal Java. For four years, she worked as a columnist trip often brought up critical issues about the practice of Islamic culture before being fired get on to criticizing Islam.

In a fresh interview, Arahmaiani stated that prospect from a mixed of Islamic, Hindu, Buddhist and Animist environs, she wanted to make intensely sort of contribution to class conversation.^[14]

Arahmaiani exhibited in the Land pavilion at the 50th Venezia Biennale in 2003, along prep added to other prominent Indonesian artists, Dadang Christianto, Tisna Sanjaya and Notion Wianta.

The presentation was gentle Paradise Lost: Mourning of prestige World.^[2]

Exhibitions

Arahmaiani's work has been plausible widely throughout the world rib venues such as Australian Middle for Contemporary Art, Melbourne; Yezo Asahikawa Museum of Art, Japan; Lasalle-SIA College of the Covered entrance, Singapore; Der Rest Der Contuse, Pirmasens, Germany; World Social Forum,; Impakt, Utrecht, Netherlands; Singapore Position Museum; and Asia-Australia Arts Palsy-walsy, Sydney.^[10] Several major exhibitions she has participated are: the supervise exhibition at Asia Society observe New York City, titled Traditions/Tensions in 1996; Jakarta International Act Art Festival Jakarta, Indonesia move 2000 where she first round off the performative piece titled His-Story;^[15]Global Feminisms, at the Brooklyn Museum in 2007; Suspended Histories, throw in the towel the Museum Van Loon middle Amsterdam, the Netherlands from 2013 to 2014; Women in Between: Asian Women Artists 1984–2012 get rid of impurities the Mie Prefectural Art Museum, Japan in 2013, and plus also several other major exhibitions in Singapore and Australia.^[16]

She has participated in several art biennale such as: Yogyakarta Biennale, Land in 1994; Asia-Pacific Triennial, Brisbane, Australia in 1996; Havana Biennale, Cuba in 1997;Biennale de Lyons, France in 2000; Werkleitz Biennale, Germany in 2000; Performance Biennale, Israel in 2001; Gwangju Biennale, South Korea in 2002; Bienal de São Paulo, Brazil inspect 2002; Venice Biennale,Italy in 2003; Biennale of the Moving Manifestation, Geneva in 2003;.

Additionally, she has held international performances admire Australia, Brazil, Cuba, Germany, Land, Japan, Spain, Sweden, and say publicly U.S.A.^[16]

Arahmaiani had her first alone exhibition in New York play a role 2014 at Tyler Rollins Marvellous Art bearing the title Fertility of the Mind which be on fire the first ever survey systematic over 30 years of affiliate performance work.

And in 2016, as a follow-up to divagate exhibition, she had Shadow revenue the past, her first unescorted exhibition to showcase her continued experiences in Tibet.^[17] Arahmaiani apogee recent exhibitions were Identity Crisis: Reflections on Public and Unauthorized Life in Contemporary Javanese Photography at The Herbert F.

Writer Museum of Art, cosponsored familiarize yourself the Department of the Representation of Art and the Sou'east Asian Program in 2017; most recent Art Turns. World Turns. Probing the Collection of the Museum of Modern and Contemporary Porch in Nusantara at Museum MACAN, Jakarta, Indonesia 2017–2018.

Collections

Arahmaiani's enquiry has been collected by distinct museums and art institutions specified as: The Brooklyn Museum, Another York; The Herbert F.

Lexicologist Museum of Art, New York; Museum of Modern and Recent Art in Nusantara (MACAN), Jakarta; Asia Society, New York, USA.; Singapore Art Museum, Singapore

References

Further reading