Melati Suryodarmo

Indonesian, b. 1969

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Melati Suryodarmo

Indonesian, b. 1969

Biography

Melati Suryodarmo explains that her purpose is “to touch the fluid border between the body and its environment.” Since 1996, she has been making visceral performance pieces about cultural and political identity, and the body inhibited by its surroundings. Her works take on a range and intensity of motion, from the vigor in Exergie-butter dance (2000) to the stillness of The Black Ball (2004), which involved a shelf constructed by Marina Abramovic and was based on a study of the life of Egon Schiele. Costume and clothing take on an important role in her work, either accentuating Suryodarmo’s actions or becoming a main prop in the performance. Suryodarmo also produces video installations and photographs in conjunction with her performances.

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Career Highlights
Learn more about artist insights.
Group
Group show at a major institution
Mori Art Museum, and 1 more
Publication
Reviewed by a major art publication
Flash Art
Fair
Included in a major biennial
Singapore Biennale
Biography

Melati Suryodarmo explains that her purpose is “to touch the fluid border between the body and its environment.” Since 1996, she has been making visceral performance pieces about cultural and political identity, and the body inhibited by its surroundings. Her works take on a range and intensity of motion, from the vigor in Exergie-butter dance (2000) to the stillness of The Black Ball (2004), which involved a shelf constructed by Marina Abramovic and was based on a study of the life of Egon Schiele. Costume and clothing take on an important role in her work, either accentuating Suryodarmo’s actions or becoming a main prop in the performance. Suryodarmo also produces video installations and photographs in conjunction with her performances.

Career Highlights
Learn more about artist insights.
Group
Group show at a major institution
Mori Art Museum, and 1 more
Publication
Reviewed by a major art publication
Flash Art
Fair
Included in a major biennial
Singapore Biennale