Promotion of the arts better than complaining

Promotion of the arts better than complaining

By Ati Nurbaiti

JAKARTA (JP): Artists had something to be grateful for in the past year even as they complained that the government pays little attention to their efforts.

There was, among many others, a contemporary arts exhibition at the Jakarta Art Center where artists came from outside the city to explore new possibilities. A much wider opportunity will come between April and June when works from 30 countries in the southern hemisphere will be displayed in the city.

Painter Astari Rasjid, chairperson of the organizing committee of the planned exhibition and seminar on the contemporary art of the non-aligned countries, is one person to look for at the activities.

She is the one with the big eyes and the big voice, who knows the importance of the sacrifice of her studio time.

"For such a large country we should be ashamed. We do not even have a national gallery, while museums in countries like Australia and Japan are already collecting the works of our contemporary artists."

Resources, mainly money, are still being hunted down for the realization of the national gallery in front of the Gambir railway station in Central Jakarta, but much more must be done. Astari, therefore, has joined others, like the sculptor and art critic Jim Supangkat, to promote the appreciation of Indonesian art work to both local and international audiences.

Tedious organizing is inevitable, and she of course hopes some good will come out of this new experience. Fund raising is always unpredictable and she says this is also the case with the big event as its deadline looms near.

"We will never start if we don't start now," Astari states in her hurried tone.

She is also a long time member of a women artists' group, the Group Sembilan, but she says this is not because she feels that women must group exclusively.

"We just benefit from our personal relations, we don't necessarily follow each other's style," she said.

Another founder, Ratmini Soedjatmoko said earlier that the group began with the need for mutual encouragement to find time for artistic expression in the busy social and family life of women artists -- quite appropriate for Astari.

Once she returns to her studio, her explorations will extend to iron sculpture. "It's very interesting, but it's just myself through a new media," she explained.

The studio takes up a corner of a garden on the quiet Jl. Sinabung in South Jakarta, deliberately away from her home and fidgeting baby in Menteng, Central Jakarta. Two sculptures are already spread on the studio wall but she bars picture taking.

"Not now please," -- she's not happy with the results of her new field of study.

Wed to an oil executive, she decries allegations that she is merely living on her husband's position. "He benefits from my connections, too," she justifies.

Astari taught herself painting back in 1980 and studied at the University of Minnesota in the United States. She then took a course for several months at the London Royal College of Art in 1987.

As a mother of four, the former model and fashion illustrator who teaches design at the Jakarta Arts Institute, says she "spreads attention in different directions" and hopes painting will also help better understanding in the family.

In painting, "I also explore my inner realm and allow the truest self to come out."

But artists seem to say one thing and reflect another, and they are not often in the mood to give you a clue. Astari is no exception, she will say that female-male relationships are her main issue in self expression, but leaves you to guess at what her paintings actually express.

"You and I have a different perception," she asserts, "You tell me what it is...it's quite sweet, anyway, isn't it?" she continued somewhat cryptically while contemplating her three canvasses of what looks like a swirling bottle at the far end and maybe the dark inside of a womb next to it. The paintings are done in dark yellow, crimson and other dark hues.

Brought up in a Central Javanese family, her choice to focus on the usually unquestionable issue of female-male relationships is indeed an artist's privilege. But she says it is more than just her choice.

"As an artist my responsibility is to liberate myself, and I hope that the honesty in my exploration can also benefit my relation with others."

In addition, she says she wishes to find "creative ways to heighten the awareness of masculine and feminine equality."

Her mission is to bring out the best for the public not only her artistic expressions but also those of her colleagues. She adds that a vision of enhancing the quality of art, "educating viewers about good art" is behind her involvement in organizing for the exhibition.

"Beauty is what we are interested in; it is based on a genuine spirit of trust in the good side of life, and the courage to go through tedious work," she explained.

If others felt the same and joined in the task, surely Astari would find some time to mold those heavy pieces of iron.