FIELD MEETING TAKE 6: THINKING COLLECTIONS
Arahmaiani Feisal (Yogyakarta & Tibet)
Manifesto of the Sceptic
Performative Reading
Synopsis: Conceived for FIELD MEETING, the performance incorporated Arahmaiani studiously sitting behind a desk and reciting a series of proclamations out loud from her well-known text entitled: “Manifesto of the Sceptic” (originally written in the early 2000’s). Her reading was juxtaposed against the backdrop of riveting imagery from her new film depicting the artist in performance within the various holy sites and breathtaking landscapes of Tibet. Amongst the many attributions distinguishing artists in Society, Arahmaiani’s recitation claimed artists as “alchemical vessels for change” which she herself has best exemplified through a lengthy collaboration with Tibetan monks (and local Chinese authorities), resulting in the planting of nearly one million trees across the country.
Arahmaiani Feisal’s FIELD MEETING participation is supported by Alserkal Avenue (Dubai).
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Bio: One of Indonesia’s most seminal and respected contemporary artists, Arahmaiani has been internationally recognized for her powerful and provocative commentaries on social, political, and cultural issues. Born in 1961 in Bandung, Indonesia, she established herself in the 1980’s as a pioneer in the field of performance art in Southeast Asia — although her practice also incorporates a wide variety of media. Shadow of the Past (2016) at Tyler Rollins Fine Art marked her first solo exhibition devoted to her ongoing experiences in Tibet. Since 1980, Arahmaiani has been included in over one hundred solo and group exhibitions around the world. Her works have been performed and exhibited widely in museums and biennials, including: the Venice Biennale (2003); Biennale of the Moving Image, Geneva (2003); Gwangju Biennale (2002); Bienal de São Paulo (2002) among others. In New York City, she was included in the landmark 1996 exhibition, Traditions/Tensions, at Asia Society, as well as Global Feminisms at the Brooklyn Museum in 2007.
