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Astari Rasjid, Indonesia

Ms. Rasjid’s art is rooted in Indonesia's traditional and social concerns, specifically cultural gender issues that deal with tradition versus modernity. Through layers of narratives the artist brings to the surface women's issues which are based on her own personal experiences and the experiences of women around her in the Indonesian culture; she questions, teases and challenges some of the concerns of Indonesian women.

Ms. Rasjid repeatedly presents herself as the protagonist of her work: “I often use my own face in my paintings as in acting out different roles, thoughts and voices. I use myself as a model for the things that I hope will become reality for other women, so they will be able to speak out clearly about the complexity of their own truth.”

In “Eveready Babe” the artist deals with female beautification and gender obligation; Women in Indonesia are always expected to be ready to tackle all the household chores and very often they become the breadwinner and life-saver of both the family and community. With the frame in this painting she is making a parallel to the always ready, always smiling, always 'well dressed' and 'well coifed' Barbie doll.

Rasjid
Everready Babe
In “AK 47“ the artist appropriated "Balinese Kamasan" images on the frame, contrasting them to the New York Skyscrapers as a background. "Balinese Kamasan" are images painted on cotton canvas for the traditional Balinese calendar.  They illustrate Hindu rituals for various ceremonies such as weddings, planting, exact days of offering for different Gods, etc. The woman holds an AK 47 and a Kelly bag, two different consumer items which could give the owner a sense of extra power. Indirectly making reference to similar experience of having to confront a "tragic" terror attack.
Rasjid
AK 47 and Kelly
 
 
Roman Zaslonov Rosanna Casano Alfonso Alzamora Pollès Roman Zaslonov Tianbing Li Christiane Grimm Takeo Adachi Andrei Molodkin Jeffrey Aaronson