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An artistic exploration of Islamic paradoxes
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Artist Mujahidin Nurrahman uses his art to explore the contradictions and paradoxes of Islam
The acrylic paper twisted, woven and turned, its multicolored hues and delicate, intricate shape seamlessly changing in an unending, organic manner. Titled “Twisted Infinity” by artist Mujahidin Nurrahman evokes fine Japanese washi paper and Islamic prayer wall art. The overall effect seems to flow and move to its beat, in line with the name of the Ritme (Rhythm) Islamic art exhibition.
“The [Ritme] exhibition seeks to explore the concept of rhythm, its connection to the natural world, and its impact on our emotions and spiritual well-being,” said the curatorial for Ritme, which shows Mujahidin’s work alongside those of fellow artists AD Pirous, A. Sebastianus, Dian Mayang Sari and others in its run at the World Trade Center building in Jakarta until June 9. “The artworks in the exhibition are curated based on their exploration of time, space, patterns and spirituality […] and offer insights into how rhythm can create a deeper sense of meaning and connection.”
Observing contradictions
While the Bandung Institute of Technology (ITB) alumnus in printmaking reiterates the symmetry and rhyme in “Twisted Infinity”, he asserts that the mixed media piece is his way of “tracing the theme of religions [specifically Islam] in the development of my work. I first thought of making [“Twisted Infinity”] in 2009 or 2010, when I explored the negative side of Islam, such as radicalism, terrorism, and even my name and its radical connotations,” Mujahidin said in an email to The Jakarta Post on April 20. “While ‘Twisted Infinity’ might be made in arabesque, geometric, calligraphic patterns in Islamic art, the motifs are actually those of AK-47 assault rifles. As an individual from a devout Muslim background, I have to accept this contradiction with Islam’s peaceful precepts and the wide scope of its views, including views or interpretations that one can only describe as negative.”
Mujahidin poignantly used the AK-47 motif in mixed-media works such as the “Kamon” series and “Invincible”. The artsociates.com art management website noted that he set out to “articulate the notions of anathema and disquietude out of an otherwise delicate and decorative appearance, seemingly free from strife.” It also noted that he set out to “depict one of the perceptions that the world has of Islam: Behind the beauty, there is a strong perception of violence.”
Mujahidin added that the arabesque motifs of the AK-47s in “Twisted Infinity” also “attempt to trace the beginnings of how humankind used violence, along with religion and aggression, as tools for political gain. The geometric, organic shapes of the AK-47s are made into interconnecting, intertwining and infinite symbols that indicate how history and political aggression repeats itself.”
Expanding into other aspects and themes
Mujahidin expanded on the “Twisted Infinity” theme of “sectarian-based violence, religious wars, religion in politics, the industrialization of warfare and other aspects” in other works. These include the 3D missile-based motifs of “Intense”, the patterns of AR-15s, or their M-16 derivatives that make up “Spread and Legal Assault”, which might resonate due to the use of the latter as weapons of choice for mass shootings in the United States.
But of the works that Mujahidin featured in exhibitions from Jakarta, Bandung and other Indonesian cities, as well as overseas in Kuala Lumpur and La Rochelle, France, his first solo exhibition, Your Silence Will Not Protect You, particularly strikes a vein.
“Your Silence Will Not Protect You addresses the role of women according to religion as a patriarchal socio-cultural construct dominated by men,” he said of the installation exhibited in Semarang Gallery, Semarang, Central Java in 2021.
Named after a 2017 posthumous anthology by African-American writer Audre Lorde, Your Silence Will Not Protect You is based on her observation that “my silences have not protected me. Your silences will not protect you.” Mujahidin drove home the point with charcoal, hand-cut paper, plexiglass and woodworks such as “Dystopia” and “Faith”.
Curator Alia Swastika noted that in “Dystopia” Mujahidin “emphasizes the element of coercion in wearing the burqa by using the exotic visuals and beauty of arabesque to create a feeling of dystopia”. “The title is especially apt, as it illustrates the use of control, manipulation and violence that is as systemic as it is subtle.”
“Faith” and “Context of Civilization” are particularly poignant, as Mujahidin captures the subject’s humanity through their realistically rendered eyes, which are then screened by manmade blinders.
“’Faith’ and [‘Context of Civilization’] feature a woman’s eyes, which question their identity and place in the world,” asserted Alia. “[Mujahidin] then covers [his subject’s] eyes with an ornamental paper cut, and in doing so leads one to empathize with them emotionally.”
Mujahidin backs Alia’s view. He said “Twisted Infinity” and “Your Silence Will Not Protect You” was his way of conveying a “reality that might be overlooked [by many of] us. It also shows how much of society is used to and complacent with [the use of the hijab] in contemporary culture and even feels it to be right, though it is filled with loopholes, which undermine [women].”
Mujahidin said he will continue showcasing his work in Singapore at the end of the year. While he did not specify what the exhibition will highlight, there is no doubt that the challenges he poses to conventional wisdom and long-accepted public preconceptions will make it worth looking forward to.
