Mengamankan Ekspektasi by Nadiah Bamadhaj: ART JAKARTA 2022
Past exhibition
Overview
A+ Works of Art is pleased to present works by Nadiah Bamadhaj for Art Jakarta 2022.
Bamadhaj’s works will be shown across two locations: Art Jakarta Gallery and Art Jakarta Spot. Her solo exhibition, “Mengamankan Ekspektasi” (2022), comprising three multimedia works from her recent exploration of female ghosts in relation to patriarchal expectations, will be displayed at our booth in Art Jakarta Gallery. Bamadhaj’s 2021 multimedia installation, “Casting Spells for the Movement”, first shown at Jakarta Biennale 2021, will be displayed at Art Jakarta Spot. One component of the installation, cast in resin, takes inspiration from Tugu Tani — a prominent monument in Menteng, Jakarta — and reinstates the occult to its original subservient form and context. The other component is a three- channel video, reinjecting a flurry of action and flight to offset the monument’s frozen subservient pose.
In combination, these works serve to demonstrate Bamadhaj’s continuous attempts to agitate the boundaries set by patriarchal structures upon the feminine body, here specifically through examples of women in Indonesian history/mythology and their gesturing towards something and anything beyond submission.
Bamadhaj’s works will be shown across two locations: Art Jakarta Gallery and Art Jakarta Spot. Her solo exhibition, “Mengamankan Ekspektasi” (2022), comprising three multimedia works from her recent exploration of female ghosts in relation to patriarchal expectations, will be displayed at our booth in Art Jakarta Gallery. Bamadhaj’s 2021 multimedia installation, “Casting Spells for the Movement”, first shown at Jakarta Biennale 2021, will be displayed at Art Jakarta Spot. One component of the installation, cast in resin, takes inspiration from Tugu Tani — a prominent monument in Menteng, Jakarta — and reinstates the occult to its original subservient form and context. The other component is a three- channel video, reinjecting a flurry of action and flight to offset the monument’s frozen subservient pose.
In combination, these works serve to demonstrate Bamadhaj’s continuous attempts to agitate the boundaries set by patriarchal structures upon the feminine body, here specifically through examples of women in Indonesian history/mythology and their gesturing towards something and anything beyond submission.
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