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.