Born 1961, Bandung, Indonesia
Lives and works in Germany

Bachelor of Fine Art in Bandung Institute of Technology (ITB), Department of Art, Bandung, Indonesia
Paddington Art School, Sydney, Australia
Academie voor Beeldende Kunst, Enschede, The Netherlands

“Language of The Spirits”, Indonesian Luxury, Amanjiwo Gallery, Borobudur, Magelang, Jawa Tengah, Indonesia
“Shadow of The Past”, Indonesian Luxury, curated by ISA Art Advisory, Indonesian Luxury Viewing Space, Jakarta, Indonesia
“The Past has not Passed (Masa Lalu Belumlah Berlalu)”, Museum MACAN, Jakarta, Indonesia
"Shadow of the Past" di Tyler Rollins Fine Art, New York, USA
"Violence No More" di Haus Am Dom, Frankfurt, Germany
“Fertility of the Mind”, Tyler Rollins Fine Art, Chelsea, New York, USA

“Maladjustment”, exhibition program for the 2019 Ubud Writers and Readers Festival, Neka Art Museum, Kedewatan, Ubud, Bali, Indonesia
“H.E.R | Art Jakarta 2019”, ISA Art & Design showcase, Jakarta, Indonesia
“Reinventing Eve”, Indonesian Luxury, Function Hall of 1Park Avenue, South Jakarta, Indonesia
“Body In Landscape”,Tyler Rollins Fine Art ,Chelsea, New York, USA
“Awakenings: Art and Society in Asia 1960s-1990s”, National Museum of Contemporary Art, Korea, Gwacheon, Gyeongju, South Korea
“Bruised: Art Action and Ecology in Asia”, RMIT Gallery, Melbourne, Australia
“Medium @ Play”,Gajah Gallery Yogyakarta, Indonesia
“Happy Hearts - Bridging Art”, Design and Charity, BIKA Living, Plaza Indonesia, Jakarta, Indonesia
“Tetap Terang, Always Bright”, galeri living Ambiente, Senopati, South Jakarta, Indonesia
“Yinchuan Biennale”, Museum of Contemporary Art Yinchuan (MOCA) Yinchuan, China
“Asian Diva: The Muse and The Monster”, SeMA Seoul Museum of Art, Jung-gu, Seoul, South Korea
“Monument to Revolution”, Collective oral work, Athena, Greece
“Art Turns, World Turns”, Museum of Modern & Contemporary Art MACAN, Jakarta, Indonesia
“Flag Project”, SMAK Ghent Museum of Contemporary Art, Belgium
“Memory of Nature”, SMAK Ghent Museum of Contemporary Art, Belgium
“I was born and raised in an environment where various cultures and beliefs coexist. I see diversity as wealth and beauty, viewing the spiritual life as the water or the source of life, and indeed water is like a religion to me. A material is not something that stands on its own—there is a spirit underlying it. In addition, I also consider it important to understand the principle of social justice as a path to understanding truth. My ancestors were Animists, Hindus, Buddhists, and Muslims who then assimilated all incoming elements and produced a hybrid culture. It’s a culture that gracefully accepts the presence of all who is different, taking the good side of all beliefs with a clear and firm compass and foundation namely: humanity.”
In 2006, Arahmaiani started her flag project after the earthquake in Yogyakarta, aiming to strengthen dialogues and communications for collective creativities and problem solving. Today it has continued to become a global project, albeit in a community level, in Indonesia, Australia, Belgium, China, Germany, Japan, Malaysia, the Philippines, Singapore, Tibet and Thailand. Every flag is made with bright colors and is decorated with symbols from writings of various nations and cultures. When she staged her first performance in Yogyakarta, together with a community there, she mounted a flag on which a symbol in Pegon Arabic, Jawi, or Malay Arabic letters read encouraging or awakening words, such as “Reason” or “Guts” and so on. Likewise, when she was in Tibet, China, Germany all the way to Bali, she produced words that have similar meanings in various letters, involving the local communities.
The Flags Project, with the involvement of communities, is the artist's endeavor to actively communicate countless human problems these days that involve various aspects of life. She believes that through networking these communities can connect and find creative solutions to many problems. At the same time the collaborations are not limited by the conventions of art institutions and markets, inclusively opening possibilities for an audience or participant. Through networking, these communities can also share and support these flags as markers of a statement in respect of cultural diversity and beliefs.
Flags Project
Variable dimensions | 22 flags and 1 video documentation | 2006-2019