Ratna Mufida: Difference between revisions

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(Created page with "===Ratna Mufida=== Ratna Mufida (b. 1979, Kediri) enjoys working and playing around with her close friends at Hyphen— while doing research, curatorial, managerial, and administrative work all at once. With them, she takes a round-trip journey through the knowledge that are rooted in practices and works of a number of artists in Indonesia from the past. Through this journey, she explores the potential of reading and practicing this knowledge in the context of today...")
 
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===[[Ratna Mufida]]===
[[File:Ratna Large.jpeg|500px|left|thumb|Ratna, photo by & courtesy of Hyphen—, 2025.]] [[Ratna_Mufida|RATNA MUFIDA]] (b. 1979, Kediri) enjoys working and playing around with her close friends at Hyphen— while doing research, curatorial, managerial, and administrative work all at once. With them, she takes a round-trip journey through the knowledge that are rooted in practices and works of a number of artists in Indonesia from the past. Through this journey, she explores the potential of reading and practicing this knowledge in the context of today’s art practice. Sometimes, she also thinks about the issue of the welfare of art workers in Indonesia.
 
Ratna Mufida (b. 1979, Kediri) enjoys working and playing around with her close friends at Hyphen— while doing research, curatorial, managerial, and administrative work all at once. With them, she takes a round-trip journey through the knowledge that are rooted in practices and works of a number of artists in Indonesia from the past. Through this journey, she explores the potential of reading and practicing this knowledge in the context of today’s
art practice. Sometimes, she also thinks about the issue of the welfare of art workers in Indonesia.

Latest revision as of 14:49, 2 May 2025

Ratna, photo by & courtesy of Hyphen—, 2025.

RATNA MUFIDA (b. 1979, Kediri) enjoys working and playing around with her close friends at Hyphen— while doing research, curatorial, managerial, and administrative work all at once. With them, she takes a round-trip journey through the knowledge that are rooted in practices and works of a number of artists in Indonesia from the past. Through this journey, she explores the potential of reading and practicing this knowledge in the context of today’s art practice. Sometimes, she also thinks about the issue of the welfare of art workers in Indonesia.