Arahmaiani

Arahmaiani (Arahmayani Feisal, born May 21, 1961) is an Indonesian artist born in Bandung and based in Yogyakarta, Central Java, Indonesia. Arahmaiani is considered by many to be one of the most respected and iconic contemporary artists, specifically in pioneering performance art in Southeast Asia. Arahmaiani frequently uses art as a means of critical commentary on social, religion, and cultural issues.[1]

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

Early life and education

Arahmaiani was born in Bandung, Indonesia on May 21, 1961. Her father was an Islamic scholar and her mother is of Javanese Hindu-Buddhist Extraction. Her name represents the syncretic mixture of two different cultures that she experienced in her upbringing. As she readily explains that "Arahma" goes back to the Arabic word meaning "loving“ while "iani/yani“ comes from a Hindi word meaning "human being“.[2]

As an art student she felt let down by the educational system in her country because it did not connect her with real life. So she decided to create her own art on the streets and discovered in an intuitive way what performance art was all about.[3]

Arahmaiani studied at the Faculty of Fine Art and Design, Bandung Institute of Technology and finished her study in 1992. She also went to the Academie voor Beeldende Kunst, Enschede, the Netherlands in 1983 and Paddington Art School, Sydney, Australia in 1985.[4]

Works

Though best known as a performance artist,[5] she also employs painting, drawing, sculpture, video, poetry, dance, and installation.[6] The thematic material of Arahmaiani's work deals with certain issues related to the discrimination and violence against women, the oppression of women's bodies by men, religion in modern society, Western commercial imperialism, and global industrialization.[3] Since the early 1980s, Arahmaiani's works have generated hostility on the part of Islamic community leaders and political authorities resulting in her short imprisonment in 1983.[7]

Her painting titled Lingga-Yoni 1993 and her installation titled Etalase 1994, bring together disparate symbols of Islam, Western culture, and sexuality. Etalase consisted of objects such as the Quran, a Buddha statue, a mirror, a pack of condoms, a Coca-Cola bottle, a box of soil, a fan, a small rebana (traditional tambourine) and her photo placed in the same museum vitrine display case. Both of the works have generated a very strong reaction from members of a Muslim fundamentalist group during their first display in Jakarta, Indonesia in 1994. The works were immediately censored and Arahmaiani herself received death threats which then led her to leave the country to Australia temporarily.[7][8] Because of the poor condition of the original Lingga-Yoni, Arahmaiani made a new version of the painting for the exhibition at the Herbert F. Johnson Museum of Art in 2013.[8]

At one point in her life, Arahmaiani was working for one of the largest newspapers in Central Java. For four years, she worked as a columnist and often brought up critical issues about the practice of Islamic culture before being fired for criticizing Islam. In a recent interview, Arahmaiani stated that coming from a mixed of Muslim, Hindu, Buddhist and Animist background, she wanted to make some sort of contribution to the conversation.[9]

Arahmaiani exhibited in the Indonesian pavilion at the 50th Venice Biennale in 2003, along with other prominent Indonesian artists, Dadang Christianto, Tisna Sanjaya and Made Wianta. The presentation was titled Paradise Lost: Mourning of the World.[2]

Exhibitions

Arahmaiani's work has been exhibited widely throughout the world at venues such as Australian Centre for Contemporary Art, Melbourne; Hokkaido Asahikawa Museum of Art, Japan; Lasalle-SIA College of the Arts, Singapore; Der Rest Der Welt, Pirmasens, Germany; World Social Forum,; Impakt, Utrecht, Netherlands; Singapore Art Museum; and Asia-Australia Arts Centre, Sydney.[7] Several major exhibitions she has participated are: the landmark exhibition at Asia Society in New York City, titled Traditions/Tensions in 1996; Global Feminisms, at the Brooklyn Museum in 2007; Suspended Histories, at the Museum Van Loon in Amsterdam, the Netherlands from 2013-2014; Women in Between: Asian Women Artists 1984-2012 at the Mie Prefectural Art Museum, Japan in 2013, and including also several other major exhibitions in Singapore and Australia.[10]

She has participated in several art biennale such as: 50th Venice Biennale, Italy in 2003; Biennale of the Moving Image, Geneva in 2003; Gwangju Biennale, South Korea in 2002; Bienal de São Paulo, Brazil in 2002; Performance Biennale, Israel in 2001; Biennale de Lyon, France in 2000; Werkleitz Biennale, Germany in 2000; Havana Biennale, Cuba in 1997; Asia-Pacific Triennial, Brisbane, Australia in 1996; Yogyakarta Biennale, Indonesia in 1994.Additionally, she has held international performances in Australia, Brazil, Cuba, Germany, Indonesia, Japan, Spain, Sweden, and the U.S.A.[10]

Arahmaiani had her first solo exhibition in New York in 2014 at Tyler Rollins Fine Art bearing the title Fertility of the Mind which presented the first ever survey of over 30 years of her performance work. And in 2016, as a follow up to that exhibition, she had Shadow of the past, her first solo exhibition to showcase her ongoing experiences in Tibet.[11] Arahmaiani most recent exhibitions were Identity Crisis: Reflections on Public and Private Life in Contemporary Javanese Photography at The Herbert F. Johnson Museum of Art, cosponsored with the Department of the History of Art and the Southeast Asian Program in 2017; and Art Turns. World Turns. Exploring the Collection of the Museum of Modern and Contemporary Art in Nusantara at Museum MACAN, Jakarta, Indonesia 2017-2018.

Collections

Arahmaiani's work has been collected by several museums and art institutions such as: The Brooklyn Museum, New York; The Herbert F. Johnson Museum of Art, New York; Museum of Modern and Contemporary Art in Nusantara (MACAN), Jakarta; Asia Society, New York, USA.; Singapore Art Museum, Singapore

References

1. "Arahmaiani: Fertility of the Mind". Asia Art Archive in America. Retrieved 2016-03-04.
2. Haupt, Gerhart; Binder, Pat (August 2003). "Arahmaiani". Nafas Art Magazine. Institut für Auslandsbeziehungen. Retrieved 5 March 2016.
3. Bollansee, Marc; Supriyanto, Enin (2007). Indonesian Contemporary Art Now. Singapore: SNP Editions. pp. 122–3. ISBN 9789812481429.
4. Feisal, Arahmaiani. "Arahmaiani: Shadow of the Past" (PDF). www.trfineart.com. Retrieved 5 February 2018.
5. Robinson, Kathryn; Bessell, Sharon (2002). Women in Indonesia: Gender, Equity, and Development. Institute of Southeast Asian Studies  – via Questia (subscription required) . pp. 120–121.
6. "Arahmaiani". Tyler Rollins Fine Art. Retrieved 26 April 2014.
7. "Brooklyn Museum: Arahmaiani". www.brooklynmuseum.org. Retrieved 2016-03-05.
8. Ulung, A. Kurniawan (7 September 2017). "Arahmaiani stays true to herself". Retrieved 5 February 2018.
9. Silas, Susan; Stathacos, Chrysanne. "A conversation with Arahmaiani". MOMMY by Silas and Stathacos. Retrieved 5 March 2016.
10. Morelli, Naima. "Arahmaiani: The Superheroine of Indonesian Contemporary Art, from Criticism to Activism". www.cobosocial.com. Retrieved 5 February 2018.
11. Feisal, Arahmaiani. "My Second Life in Tibet" (PDF). Retrieved 5 February 2018.

Further reading

• Cotter, Holland (January 30, 2014). "Arahmaiani: Fertility of the Mind". The New York Times.
• Feisal, Arahmaiani "Arahmaiani: Shadow of the Past".Tyler Rollins Fine Art