Mujahidin Nurrahman

CV
Born November 14, 1982, Bandung, Indonesia
Lives and works in Bandung, Indonesia

EDUCATION
2007
Bachelor Program in Fine Arts Major (Printmaking), Faculty of Fine Art & Design, Bandung Institute of Technology (ITB), Bandung, Indonesia

SOLO EXHIBITIONS
2018
“Dogmatic Desires”, ArtSociates, Langgeng Art Foundation,Yogyakarta
2017
“The Black Gold”, Art Fair Tokyo, Tokyo, Japan
2016
“Chamber of God”, ArtSociates' booth in ArtStage Singapore, Singapore
2015
“Essentia”, Centre Intermondes, La Rochelle, France
“Hidden”, JIKKA, Tokyo, Japan
2014
“Soft Power >< With All Reasons and Decisions”, Lawangwangi Creative Space, Bandung

GROUP EXHIBITIONS
2019
“Assemblage”, Lawangwangi Creative Space, Bandung, Indonesia
“Gairah Seni Rupa Bandung”, Semarang Gallery, Semarang, Indonesia
“ART• BALI 2019: Speculative Memories”, AB • BC Building, Bali Collection, ITDC Nusa Dua, Badung, Bali, Indonesia
2018
“Power, Play & Perception”, Gajah Gallery & Tabula Rasa Studio, Kuala Lumpur, Malaysia
“Papersphere”, Galeri Soemardja, Bandung, Indonesia
2017
“Jangan Sentuh”, Visma Gallery, Surabaya, Indonesia
“Art Charity”, Art Bazaar, Jakarta, Indonesia
“Spiritualitas Dalam Seni Rupa Indonesia: Pameran Amal & Lelang R.S. Salman Hospital”, Lawangwangi Creative Space, Bandung, Indonesia
ARTWORK
If You’re Not There, Then You Are Safe
190 x 107 x 23 cm | Paper hand-cut, glass mirror, wood, paint, LED lamp | 2019


A large vanity mirror is a gimmick in this work; a hand-cut paper that still uses AK-47s as a module of the “Arabesque” combination becomes the first layer while the rear layer is a mirror glass that gives off an old/broken impression. I present the hand-cut paper to raise the issue of violence/warfare occurring everywhere, and the mirror becomes another focus for the appreciator, the appreciator will tend to see his/her own reflection first when standing in front of this work. And it instantly invites them to do a selfie, after which they will look at the paper cut layer and try to understand, or not—after taking a selfie they might leave. Because, what is important in this situation is where are we when we’re in front of this work? In the mirror, of course, since our image is clearly not there on the paper cut.
Parade
280 x 230 x 45 cm | Canvas cut, acrylic, sling | 2019


Persecution, repression, intolerance, nationalism, radicalism and so on; recently these terms become the daily staple for Indonesian people. Issues surrounding the terms above divided the people into two almost equal groups when the Presidential Election took place, inevitably triggering a “war” in the social media, where people attacking, bullying, accusing, reporting each other; leading even to demonstrations with violence. Similar to a “parade”, people defend the figures they believe in. But it’s a dark parade since the supporters of each group are blinded by the issues raised while turning a blind eye to the truths they don’t want to know.

In this work I still use AK-47s that are arranged into ornamental combinations resembling Arabesques or lotus flowers. These guns that I use represent communal/mass violence. I present the impression of the parade through the arrangement of the triangular flags that we often encounter as accessories of parades, festivals or celebrations of Indonesian independence, but using the color black.