Opening Tumbuh Rimpang
November 29, 2024
Red Is Color Of Salvation
Citra Sasmita
Exhibition
Repurposing: Paradise
Artist
Citra Sasmita
Written by
Krisna Sudharma
“Red is the Colour of Salvation” poses a crucial question: why must peace be predicated on violence and bloodshed?
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Citra Sasmita’s art installation, “Red is Colour of Salvation,” emerges as a profound commentary on the socially constructed roles of women and traditional narratives that have for centuries defined, and at times, confined their existence. This artwork elucidates the complexities of sacrifice and authority, positing that true peace often necessitates the shedding of blood. Sasmita carefully bridges the historical context with contemporary issues, presenting a medium where the past and present dialogues intersect, thus broadening the understanding of Bali’s gradual adaptation within the global context.
Bali, an island known for its picturesque landscapes and rich cultural heritage, has been incessantly commodified under the guise of a man-made paradise. This abrupt disruption of Bali’s traditional essence in favor of a paradisiacal destination overlooks the multiple societal issues lurking beneath its surface. Sasmita’s piece boldly challenges this notion, urging a reevaluation of what paradise entails and at what cost it is achieved.
“Red is the Colour of Salvation” poses a crucial question: why must peace be predicated on violence and bloodshed? Drupadi’s red hair symbolizes the fundamental right of the Balinese people to live harmoniously with their environment, culture, and traditions – like a sacred temple represented by five cups filled with natural spices, they are entitled to purify and sustain their existence on their homeland.
In the midst of contemplating the layered complexities of paradise and sacrifice, Sasmita provides insight into how the Balinese people reconcile with their history and external perceptions through the prism of their ceremonies. These spiritual and communal practices serve not only as a means of cultural preservation but also as a mode of collective healing and resistance. Ceremonies, deeply embedded in Balinese life, become acts of reclaiming agency – where the ritualistic purification and offerings symbolize a deeper yearning for peace and a balanced existence between the spiritual and material worlds. Through this lens, “Red is Colour of Salvation” also celebrates the resilience of the Balinese spirit, their enduring connection to the land, and the power of rituals to restore harmony amidst societal turbulence.
Drawing inspiration from the epic Mahabharata, Sasmita references Drupadi’s act of washing her hair with the blood of the Kurawa as a metaphor for the reclamation of agency by oppressed women. This narrative is not only a reflection on the social repression of women’s bodies but also serves as a complex lens through which to view geographical landscapes. Just as women’s bodies have been exoticized and exploited, so has Bali, since the first footprints of colonialism in the early 20th century. Marketed as “the last paradise,” Bali’s natural beauty, culture, and way of life have been exoticized for tourism, overshadowing its dark history of conflicts and tragedies such as the Puputan War, the 1965 tragedy, and the Bali bombings.
Citra Sasmita, a self-taught artist born on March 30, 1990, in Bali, Indonesia, has consistently challenged the myths and misconceptions surrounding Balinese art and culture through her artworks. With a background in literature from Udayana University and Physics Education from Ganesha University of Education, Sasmita’s artistic journey flourished as she joined the campus theater group and became a short-story illustrator for Bali Post. Her active participation in exhibitions both in Bali and internationally has solidified her place in the contemporary art world.
The “Timur Merah Project; Harbor of Restless Spirits” presented in the Garden of Six Seasons, ParaSite, is a testament to Sasmita’s intricate painterly language. Utilizing cow hide as her canvas, she crafts a landscape intertwined with female figures, fire, and natural elements that embody a whimsical yet profound pansexual energy. Rooted in Hindu and Balinese mythologies, Sasmita’s work transcends traditional narratives to imagine a secular and empowered mythology for a future beyond patriarchy.
Through “Red is Colour of Salvation,” Citra Sasmita invites viewers into a contemplative space, urging them to reckon with the underlying societal constructs and historical narratives that shape our understanding of paradise, peace, and the place of women within them. Her installation stands as an intellectual and artistic exploration of the intricate dynamics between history, society, and the individual, challenging us to envision a future where salvation is rooted in understanding, acceptance, and the harmonious coexistence of all beings.
