This article is accompanied by pictures of Murni’s original artworks and photographs taken by the writer in respond to the title, Murni and Beyond
After all that has happened throughout the 1 year of Merayakan Murni project, my personal question is: should we end it with a sad note or a happy note?
The answer is: there is actually no end, there is never the end, and this Merayakan or Celebration should continue on with whatever note that is.
When we started opening Ketemu’s data on Murni’s own remaining paintings collection, one painting that was under Murni’s Foundation (Yayasan IGAK Murniasih) titled Hatiku Kadang Kadang Bercabang/Sometimes My Heart Divides (1997) intrigued me. Somehow the painting says more: if it is the heart, why is it like a windowpane painted with branches of lines going through like veins? No one but Murni would answer it, yet the title caught me.
During Kamiliah Bahdar’s Ketemu Aja in December 2015, a sharing session held by Ketemu Project Space where their involved artist/curator and society meet, Kamiliah asked us to write about or be inspired of Murni in a critical fictional way. I took this as a chance for me to respond to Murni for the first time. So I took the painting as a window to critic all the readings available that have criticised Murni either saying her artworks are taboo, dirty or purely traumatic. I titled it, “Ini bukan tentang trauma, ini tentang kita/This is not about trauma, this is about us.”