Exhibition
The 10th Max Mara Art Prize for Women
Museum MACAN has officially partnered with Max Mara and Collezione Maramotti on the Max Mara Art Prize for Women for the 2025–2027 edition, the first-ever presentation in Southeast Asia.
Museum MACAN has officially partnered with Max Mara and Collezione Maramotti on the Max Mara Art Prize for Women for the 2025–2027 edition. The tenth edition of this prize also marks its first-ever presentation in Southeast Asia, with Indonesia selected as the host country.
The winner of the Max Mara Art Prize for Women will receive a bespoken six-month residency in Italy, organized by Collezione Maramotti, along with the opportunity to present their work in two solo exhibitions, at Museum MACAN in Indonesia and at Collezione Maramotti in Italy. The winner will be announced in the coming months.
Betty Adii is a self-taught Papuan artist whose practice is rooted in a female dimension of struggle, solidarity and survival. Moving between drawing, painting and installation, Adii creates trenchant yet poetic reflections on the political and social realities of Papua. Her works weave together personal and collective narratives, combining traditional cultural references with contemporary forms to challenge dominant narratives and amplify the voices of Papuan women.
The group exhibitions in which she has participated include: Sharjah Biennial 16 (2025); Biennale Jogja 17 (2023); Biennale Jogja
XVI (2021).
The group exhibitions in which she has participated include: Sharjah Biennial 16 (2025); Biennale Jogja 17 (2023); Biennale Jogja
XVI (2021).
Dzikra Afifah primarily works with ceramics, adopting a unique process of subtraction: after modelling solid clay shapes, she begins hollowing them out in a way that deforms them and transforms them in firing. The creation of these works – which must be kneaded, sculpted, transported – involves constant physical exertion. Afifah’s sculptures open up a space of negotiation in which the borders between artist and matter, process and context, are continually shifting, inseparable from the effort, empathy and uncertainty that generated them.
In 2022 Afifah received the ARTJOG Young Artist Award and in 2024 she was named an honorary winner of the eight Bandung Contemporary Art Award.
In 2022 Afifah received the ARTJOG Young Artist Award and in 2024 she was named an honorary winner of the eight Bandung Contemporary Art Award.
Ipeh Nur creates narratives related to memory, history, mythology and oral tradition. Her practice rooted on drawing and painting, intertwined also various other mediums and techniques such as batik, ceramics, printmaking, sculpture, installation, video and murals. In her practice the materials chosen are not merely symbols or metaphors, but mediums able to connect with her body. Nur’s work often builds on ancient myth, and since 2019 she has been exploring the maritime cultures of the Indonesian archipelago.
The group exhibitions that have featured her work include: 47 Canal, New York; Sharjah Biennial 16 (2025); Sculpture Center, New York (2024). In 2024 Nur received a special prize from the Future Generation Art Prize.
The group exhibitions that have featured her work include: 47 Canal, New York; Sharjah Biennial 16 (2025); Sculpture Center, New York (2024). In 2024 Nur received a special prize from the Future Generation Art Prize.
Mira Rizki is a multidisciplinary artist who works with sound and interactivity. Keenly sensitive to the shape of sound and the way it is perceived, Rizki explores how differences in context, environment, and memory mould our auditory experiences. Through experimentation with aural memory and soundscapes aimed at creating immersive compositions, Rizki’s works highlight how each individual perceives sound in their own way.
She has taken part in many exhibitions, including: ILHAM Kuala Lumpur (2025); Indonesia Pavilion, Gwangju Biennial (2024); Museum MACAN, Jakarta (2021).
She has taken part in many exhibitions, including: ILHAM Kuala Lumpur (2025); Indonesia Pavilion, Gwangju Biennial (2024); Museum MACAN, Jakarta (2021).
Dian Suci practice lies at the intersection of domestic narratives and political power of the state. Drawing from her everyday experiences as a single mother, her work addresses issues connected to the political domestication of women, authoritarianism and fascism, patriarchy, and capitalism, which structurally underlie various problems facing by women in Indonesia. Acutely aware of spatial composition, Suci employs a variety of media, including installation, painting, sculpture and video.
Her work was presented at the recent Sharjah Biennial 16 (2025).
Her work was presented at the recent Sharjah Biennial 16 (2025).
