Promotion of the arts better than complaining<\/p>\n
By Ati Nurbaiti<\/p>\n
JAKARTA (JP): Artists had something to be grateful for in the
\npast year even as they complained that the government pays little
\nattention to their efforts.<\/p>\n
There was, among many others, a contemporary arts exhibition
\nat the Jakarta Art Center where artists came from outside the
\ncity to explore new possibilities. A much wider opportunity will
\ncome between April and June when works from 30 countries in the
\nsouthern hemisphere will be displayed in the city.<\/p>\n
Painter Astari Rasjid, chairperson of the organizing committee
\nof the planned exhibition and seminar on the contemporary art of
\nthe non-aligned countries, is one person to look for at the
\nactivities.<\/p>\n
She is the one with the big eyes and the big voice, who knows
\nthe importance of the sacrifice of her studio time.<\/p>\n
"For such a large country we should be ashamed. We do not even
\nhave a national gallery, while museums in countries like
\nAustralia and Japan are already collecting the works of our
\ncontemporary artists."<\/p>\n
Resources, mainly money, are still being hunted down for the
\nrealization of the national gallery in front of the Gambir
\nrailway station in Central Jakarta, but much more must be done.
\nAstari, therefore, has joined others, like the sculptor and art
\ncritic Jim Supangkat, to promote the appreciation of Indonesian
\nart work to both local and international audiences.<\/p>\n
Tedious organizing is inevitable, and she of course hopes some
\ngood will come out of this new experience. Fund raising is always
\nunpredictable and she says this is also the case with the big
\nevent as its deadline looms near.<\/p>\n
"We will never start if we don't start now," Astari states in
\nher hurried tone.<\/p>\n
She is also a long time member of a women artists' group, the
\nGroup Sembilan, but she says this is not because she feels that
\nwomen must group exclusively.<\/p>\n
"We just benefit from our personal relations, we don't
\nnecessarily follow each other's style," she said.<\/p>\n
Another founder, Ratmini Soedjatmoko said earlier that the
\ngroup began with the need for mutual encouragement to find time
\nfor artistic expression in the busy social and family life of
\nwomen artists -- quite appropriate for Astari.<\/p>\n
Once she returns to her studio, her explorations will extend
\nto iron sculpture. "It's very interesting, but it's just myself
\nthrough a new media," she explained.<\/p>\n
The studio takes up a corner of a garden on the quiet Jl.
\nSinabung in South Jakarta, deliberately away from her home and
\nfidgeting baby in Menteng, Central Jakarta. Two sculptures are
\nalready spread on the studio wall but she bars picture taking.<\/p>\n
"Not now please," -- she's not happy with the results of her
\nnew field of study.<\/p>\n
Wed to an oil executive, she decries allegations that she is
\nmerely living on her husband's position. "He benefits from my
\nconnections, too," she justifies.<\/p>\n
Astari taught herself painting back in 1980 and studied at the
\nUniversity of Minnesota in the United States. She then took a
\ncourse for several months at the London Royal College of Art in
\n1987.<\/p>\n
As a mother of four, the former model and fashion illustrator
\nwho teaches design at the Jakarta Arts Institute, says she
\n"spreads attention in different directions" and hopes painting
\nwill also help better understanding in the family.<\/p>\n
In painting, "I also explore my inner realm and allow the
\ntruest self to come out."<\/p>\n
But artists seem to say one thing and reflect another, and
\nthey are not often in the mood to give you a clue. Astari is no
\nexception, she will say that female-male relationships are her
\nmain issue in self expression, but leaves you to guess at what
\nher paintings actually express.<\/p>\n
"You and I have a different perception," she asserts, "You
\ntell me what it is...it's quite sweet, anyway, isn't it?" she
\ncontinued somewhat cryptically while contemplating her three
\ncanvasses of what looks like a swirling bottle at the far end and
\nmaybe the dark inside of a womb next to it. The paintings are
\ndone in dark yellow, crimson and other dark hues.<\/p>\n
Brought up in a Central Javanese family, her choice to focus
\non the usually unquestionable issue of female-male relationships
\nis indeed an artist's privilege. But she says it is more than
\njust her choice.<\/p>\n
"As an artist my responsibility is to liberate myself, and I
\nhope that the honesty in my exploration can also benefit my
\nrelation with others."<\/p>\n
In addition, she says she wishes to find "creative ways to
\nheighten the awareness of masculine and feminine equality."<\/p>\n
Her mission is to bring out the best for the public not only
\nher artistic expressions but also those of her colleagues. She
\nadds that a vision of enhancing the quality of art, "educating
\nviewers about good art" is behind her involvement in organizing
\nfor the exhibition.<\/p>\n
"Beauty is what we are interested in; it is based on a genuine
\nspirit of trust in the good side of life, and the courage to go
\nthrough tedious work," she explained.<\/p>\n
If others felt the same and joined in the task, surely Astari
\nwould find some time to mold those heavy pieces of iron.<\/p>",
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