11/23/2023
Murni: First Balinese artist to be collected by Tate Modern Gallery
Bikin Kesenangan(Making Pleasure) composition depicting a naked female body with a paint brush positioned between her legs with the word HOBBY inscribed on the handle by Balinese artist I Gusti Ayu Kadek Murniasih (Murni), has been purchased by Tate Modern Gallery. The image was among nine works acquired in October as part of the Frieze Tate Fund—in which a team of Tate and international curators acquired pieces for Tate’s collection. This distinction makes the late artist (1966-2006) the first Balinese to be collected by Tate.
London’s Tate Modern is a gallery that houses the United Kingdom’s national collection of international modern and contemporary art and forms part of the Tate group together with Tate Britain, Tate Liverpool and Tate St Ives. Tate opened in 1897 and has evolved into one of the world’s largest and most prestigious museums of modern and contemporary art, with a combined collection numbering nearly 70,000.
When Tate Modern opened in 2000, it set about transforming the paradigm of how globalised contemporary art was consumed, shifting audiences away from the Old Masters towards an exciting new future with cutting-edge displays and exhibitions intersecting art and fashion, high and low art, virtual and real, ancient and recently made works. The Tate became the flagship of art in Britain that drew the world’s focus at a time when British contemporary artists had risen into their ascendancy. With a catalogue of important shows, it has become a household name in art.
Art as a personal therapy
Art for Murni was a form of therapy and a daily routine, a diary and retelling of a personal history. Her compelling, seemingly simplistic style of colourful, fluid lines and shapes often contrasted against rigid and sharp objects that represented the violence, trauma and loss of innocence she experienced as a child when her father sexually assaulted her. Primarily self-taught, Murni was a prolific artist who explored her themes in both two and three-dimensional works.
Gajah Gallery’s presentation of Murni at Frieze Masters 2023 in London
In the 1990s, Murni introduced a fresh and exciting visual language into the sphere of contemporary Balinese art. Murni, however, presented themes considered taboo at the time, which were a direct assault on the Balinese patriarchal society while smashing perceived stereotypes about Balinese art.
Images of personal and other sexual encounters are literally interpreted within Murni’s works. However, her introduction of symbols revealed deeper personal and gender issues. At the same time, her balanced minimalistic compositions confirmed an extraordinary intelligence and unique artistic voice. Murni’s works were never contrived, yet they freely flowed from her subconscious to help bring reconciliation and peace to her human experience.
“I paint to feel that I exist”, Murni was once quoted as saying.
The meteoric rise of Murni comes as little surprise to people who have long recognised her talents. Some Balinese art experts believe her art to be on equal footing with some of the great female painters of the modern era. The historic inclusion of Murni into one of the world’s most prestigious galleries will have positive implications for Balinese art.
Balinese Arts’ Struggle for Recognition
Balinese modern and contemporary art has been maligned and has struggled for acknowledgement within the international art sphere. On the other hand, Balinese sacred Classical religious paintings have achieved recognition in the historical development of world art. Dutch colonization of Bali resulted in many of the finest examples of modern Balinese art from the golden years of Balinese painting (1920-1945) and earlier being collected and relocated into institutions in Europe and America.
The works, however, were included within the collection of ethnological museums that specialized in studying world cultures rather than in art museums. Balinese art was displayed with demeaning colonial narratives referring to it as folk art by the primitive people of Bali and thus impacting negatively upon its perception and not giving recognition to its artistic distinctions. Labelling them as peasant denies the creativity involved in the development of modern Balinese art in the 1930s and 1940s.
This poor perception of Balinese art then reverberated around the world and into Indonesia. Collectors perceived the art as tourist art, and, therefore, the market for Balinese paintings has remained relatively small compared to the Indonesian modern and contemporary market, which enjoyed periods of growth in the 1980s, early in 2000 and especially during the art boom of 2006 – 2008.
Mondo’s Commitment to Murni
During the past five years, Murni has risen dramatically in popularity. Her work has been exhibited in solo and group exhibitions, along with being presented in international art fairs and museum collections. Mondo Zanolini, Murni’s life partner in late 2018 decided to work with Gajah Gallery of Singapore and Indonesia to promote Murni’s art worldwide. Gajah Gallery has been responsible for this increased positioning of Murni on the global art stage, and credit goes to the dedication and hard work of the Gallery and its Founder, Director Jasdeep Sandhu.
Her recent Gajah Gallery solo exhibitions include I Gusti Ayu Kadek Murniasih: On Beginnings, Oct-Nov 2019 in Yogyakarta, Shards of My Dreams That Remain In My Consciousness July-Aug 2021 in Singapore and I See Myself Floating (Aku Melihat Diriku Terapung) Oct-Nov 2022 in Jakarta. Murni’s work has also appeared in various group shows since 2018 in Indonesia and Singapore. Gajah Gallery has represented Murni in numerous art fairs since 2019 in Indonesia, Singapore, Japan, the Philippines, and Hong Kong, including Art Basel Hong Kong and Basel. From 11-15 October, Murni was presented at the Frieze Masters 2023 in London, where her works were a part of the fair’s Spotlight section, dedicated to pioneers of avant-garde art from across the world.
Murni has been exhibited in the National Gallery of Singapore, the Museum of Modern and Contemporary Art in Nusantara (MACAN), Jakarta, Indonesia, 2019; the National Gallery of Australia, Canberra, Australia in 2019; the 58th Carnegie International at Pittsburgh; the Carnegie Museum of Art, USA 2022, the National Gallery of Art, Washington DC, and the University of Chicago. Murni’s works have been acquired by MACAN, the National Gallery of Singapore, the National Gallery of Australia, the National Museum of World Cultures, Leiden, the Netherlands, the Carnegie Museum of Art and the National Gallery of Art in Washington DC.
Murni Through the Eyes of Others“Murni exploded onto the local art scene in the mid 1990s with her first-ever exhibition in the Seniwati Gallery of Art by Women’s Showspace in Ubud, Bali. Seniwati discovered and worked for over 70 women artists living In Bali. This small town at the time was a fulcrum of Indonesian/Balinese artistic activity, albeit mostly male. Murni smashed through the barriers of misogyny with her extraordinary autobiographical, no-holds-barred yet lyrical paintings. Through her work, she also empowered other women artists by demonstrating courage and liberation from ‘cultural’ norms and restrictions,” said Mary Northmore, Founder and Director of Seniwati Gallery of Art by Women (1990 – 2012).
“I had been told there were no Balinese women artists because ‘Balinese women had no sense of colour’ and ‘Balinese women didn’t like to get dirty’ – and I was also told that Murni’s work was pornographic and should be hidden from children’s sight. This announcement gives the lie to those attitudes!”
“Murni was a powerhouse of creativity, making so many unforgettable images with honesty and without shame, constantly developing her means of expression in a variety of media, inspiring others to acknowledge and depict departures from the idealized representations of life in Bali. It’s wonderful to know she will continue to inspire and delight internationally,” Northmore told me. “The news about the recognition of excellence for a woman artist of Bali is both very exciting and somewhat overdue.”
“In her will, Murni included a design of a museum to house and show her paintings. Her works have been acquired by various museums in Southeast Asia, notably MACAN and National Gallery Singapore, and in Australia and recently in 2023 in the National Museum of World Cultures, Leiden, the Netherlands and Tate Modern. The latest acquisition of her work by Tate Modern may signal that she would enter the canon of significant artists worldwide. She has realized her dream of having a museum for her works,” said Balinese art expert and founder of Yayasan TiTian Bali (TiTian Bal iFoundation) Soemantri Widagdo.
“All Murni’s works are deeply personal. Her art chronicles her life on a daily basis. Her titles attest it; far from politics and feminism. In fact, she was not political at all.”
“The inclusion of Murni into Tate Modern’s international collection represents a significant milestone for Balinese and Indonesian art. It not only elevates the visibility and recognition of Balinese art to the forefront of the global art stage but also underscores the transcendent appeal of Indonesian art beyond national borders to artists and collectors alike,” said Jasdeep Sandhu.
“Tate Modern’s reputation as a leading global art institution adds weight to this inclusion, marking the initiation of a transformative trend. The acquisition of Murni’s work sets a compelling precedent for other international art institutions, encouraging them to explore and incorporate Indonesian artists into their collections.”
Words: Richard Horstman
Images courtesy of The Estate of Murniasih