Housewifi

Housewifi

Housewifi

Object & Video Installation
Indonesia, 2015

Housewifi tries to re-encapsulate the roles of women in the smallest surrounding, a family. Marishka is inspired by the concepts of “mother” and “priyayi” or aristocratic during the New Order era; which incorporated minor bourgeois values of the Dutch with traditional values of aristocratism. The New Order government developed systemic unpoliticizing policies of Indonesian women’s roles and positions. The figure of “Development Father” has made it obligatory for women –both as mothers and wives– to serve in the development which centralized in paternalistic ism and posed men as the core element of the state; while women was positioned as a secondary element, but which nonetheless totally supported the state policies.

Marishka interpreted the problem in form of a house miniature with no doors, merged with animation video which features playful representative symbols to bring the discourse of womanhood issue. The clash of both mediums is expected to carve personal paradigms which could be read as triggers toward modern woman to re-read the concepts of “ibu-ism” or “mother-ism” in current context; in which the concept remains to survive, yet faces various shiftings.

Marishka Soekarna

She finished her study in graphic design at Bandung Institute of Technology in 2007. She was the guitarist for a girls’ band Boys Are Toys. Marishka has been very connected with the design world. Currently she is working as a freelancer illustrator and producing her own bag label UGLY with her two friends. She explores medium from drawing, mural, to stop motion video. She participated in art exhibitions like Drawma (2010) and Begadang Neng (2013) at RURU Gallery, ARTE 2014 – Indonesia Arts Festival and Medium of Living di Edwin’s Gallery a few months ago.