Art KL-itique

As described in the exhibition catalogue, "Crying with Trees attempts to move beyond the confinement of introspection and examine external issues with sights way beyond the realm of human culture." Large landscape paintings make perfect wall hangings in big homes, as Chong Siew Ying's solo exhibition sold out by its opening, no doubt supported by a loyal friend/fan base. The story of one determined rural Hakka woman artist is oft-touted to capture the imagination of the privileged, sometimes masking her alluring use of acrylic emulsion to create a Chinese ink effect. Invoking nostalgia at its best, Siew Ying’s monochrome works unfortunately feel flat when exhibited on white walls with a reflective floor. One external issue the struggling gallery should consider examining, among others.

Chong Siew Ying - La Nostalgie (2013)

Curator-turned-artist Brian Robinson exhibits his printmaking output at Shalini Ganendra's, which sees stylised motifs derived from aboriginal art in the Torres Straits, north-west of Australia. Markedly different from the dots and country landscapes associated with mainland indigenous art, Brian fuses local myths and contemporary objects into beautiful and quirky images. Life in the Torres Straits was significantly altered after evangelists landed in 1871, which led to eventual prosperity but also the decline of cultural practices. In 'Sa mina las kaikai', which translates to 'The Last Supper' in broken English, the artist combines familiar iconography that celebrates an acceptance of heritage which co-exists with contemporary life.

Brian Robinson - Sa mina las kaikai (2011)

In a land devoid of four seasons, celebrating the Mid-Autumn festival中秋节 is a live example of migrated culture, ethical mooncake exchanges notwithstanding. Childhood memories of melting candles to create wax sculptures, and watching wind start a fire from a string of paper lanterns, are events no longer common in our urban playgrounds. Artificial truths replace traditional practice; fear overwhelms nature, just like battery-operated lanterns. At Aku Café & Gallery, beautiful animal silhouettes are projected between carved wooden windows hung on walls. Weariness must exist, time has past, if coloured shadows can generate nostalgia.

Khairudin Zainudin’s sketchy drawings sell well, and one hopes that his rising fame does not stunt the artistic growth of this young artist. Overlapping lines depicting human gestures are a visual gimmick; When paired against static objects like printed stickers on commuter trains, the end result is a more balanced composition. “Senyap Dalam Gege” captures moving images in populated urban places, but the briskly applied colours denote a failed experiment. His titles are direct yet occasionally evoke pensive sentiments, such as the pakcik sitting on train tracks in ‘Terima dengan Rela’, and the makcik operating a food stall in ‘Dalam Kelembutan Ada Kekuatan’.

Khairudin Zainudin - Dalam Kelembutan Ada Kekuatan (2014)

Google Street View finally makes its début in Peninsular Malaysia, as one engages in the inevitable act of virtual voyeurism. While we await local interpretations of Doug Rickard, it was interesting to capture a snapshot of Publika's Black Box gallery, which was hosting the Kuala Lumpur edition of "Media/Art Kitchen". Appropriate coincidence?

Google Street View capture of Jalan Dutamas 1 (Black Box @ Publika) [taken in Oct 2013]

The Goethe-Institut Malaysia continues with its great 2014 program by exhibiting city-themed pictures taken by photographers from the German agency OSTKREUZ. In a time where more people live in cities than in the countryside, this topic is a very relevant one to explore, especially since a burgeoning population is the critical factor that drives human endeavours worldwide. Wall texts describe individual experiences, while faraway places project exotic scenes that immediately attract the public visitor. Despite the different approaches employed, each photographer manages to capture a certain characteristic of cities, which yields deep reflections when the entire exhibition is viewed as a whole. Shown in the gallery at the same time are overestimated artworks for a charity auction, the luxury products jarringly incongruous with these pictures of reality.

Jörg Brüggemann - [Mas Austral] Young couple on Calle San Martin, Ushuaia, Argentina (2009)

Isolated towers populate the skyline in extravagant Dubai, where blue-water marinas and palm-shaped landfills are made in the desert. Thomas Meyer observes that “…it always seemed as if all kinds of artificial reasons were created why people should settle there because there were no natural ones.” His crisp pictures portray a strong sense of scale, where the Burj Dubai in the background is often cut off, to capture the sandy ground of construction sites. Two other photographers take on a similar theme – Maurice Weiss’ uncertain portraits of the landscape in still-developing Ordos, contrast with the artificial façades in Las Vegas taken by Linn Schröder. From an isolated mansion to Italian verandas to the distant skyscraper, these constructs displace one from the immediate natural habitat, transforming an inhospitable terrain. The city is a product of human ambition.

Thomas Meyer - [The Resort] Marina, Dubai, United Arab Emirates (2009)

The life of a city is inextricably linked with the industries that power it, Dawin Meckel presenting an empty Detroit and its idle residents. Dawin’s photographs, including the interior shots, are taken in broad daylight; Natural luminescence is a privilege in Pripyat, site of the Chernobyl disaster, as Andrej Krementschouk ‘s pictures of banal objects in abandoned places, denote a ground that was not ideally habitable in the first place. Exhibited in an enclave are Heinrich Völkel’s photographs of Gaza, where homes, mosques, and jails, are equal targets to be levelled by the Israeli military. The presence of people at the foreground of rubble, projects a striking image of human perseverance, which Heinrich notes, “(w)hat makes a city a city has nothing to do with how many buildings are actually standing but with the vitality that of the society that keeps the urban structures alive.”

Heinrich Völkel - [Gaza-the destroyed city] Destroyed city prison on Main street of Gaza City, Palestinian territories (2009)

The inherent moral judgement in Espen Eichhöfer’s captures of Manila’s slums dampen its impact, while pictures of a utopian Auroville (Anne Schönharting) and youthful Ushuaia (Jörg Brüggemann), depict faraway lifestyles that are equal parts intriguing and alienating. These places are worthy case studies about the concept of cities, especially the failure in planning for the first example. Hope drives rural folk into the city, in which the phenomena known as a population explosion is beautifully captured by Julian Röder. Stating that “(c)haos is not evil; it is simply the way things are”, Julian’s photographs of overpopulated Lagos are typically monochromatic. His attractive compositions are marked by repeating objects of the same primary colour, signifying the application of a standard structure that binds the chaos. The city is a product of human ambition.

Julian Röder - [Lagos-Transformation] Generators on roofs of Oshodi market, Lagos, Nigeria (2009)

Inconsequential but artfully done, Ute & Werner Mahler’s “Monalisen der Vorstädte” project portrays women from five cities, its suburban background as ambiguous as the landscape in the Mona Lisa. Unintentionally vague also are Harald Hauswald’s snapshots of Shanghai, the black & white prints failing to describe the hustle & bustle in a progressive city. However, such situations are brilliantly captured by Frank Schinski, whose photographs in commuter hubs capture the time people inevitably spent waiting, in the mad rush towards a personal destination. His observations are insightful – “(w)ithout thinking about it, people integrate themselves into the architecture of railroad stations and airports (…) Life is a constant search for your role and place (…) You only move forward if you are willing to give in to the daily grind, the rhythm of the city.”

Frank Schinski - [Transit Stills] Bosporus ferry, Istanbul, Turkey (2009)

The best pictures in this superb exhibition frame the city in another dimension – human desire is a product of the city. Perverse behaviours are born out of cultured societies, as Pepa Hristova’s off-centred snapshots in Tokyo maid cafes demonstrate. Sibylle Bergemann’s dreamy pictures present a longing nostalgia after the Berlin Wall fell. Playing on the myth of the lost city, Annette Hauschild searches for less glamorous places named Atlantis. People lounge about in a New York gay bar, one man heaves a bag of sponges in an Ottenbach factory, a lady guest waits for her boiling water in a Krakow hostel. Annette’s thoughts about her series also sum up this exhibition – “(t)he overall picture they present is not one of an ideal city. Not a paradise, not a state of absolute bliss.” Cities and humans have become one, and the faster we accept that, the better chance we have to stop its decay.

Annette Hauschild - [Atlantis] Guest at the Atlantis Hostel, Krakow, Poland (2009)

“Yet the city has long been more than just a speck in the landscape. The future of the world lies in the city. It is where the fate of humanity will be decided. What happens to the city also happens to us. In the city people who could avoid each other in the country or never even meet confront one another. The city attracts a great concentration of poverty, while at the same time it is often the only way to escape impoverishment. The city shows the power of planning and also how planning can become utterly meaningless. It gives everyone the feeling that they belong to something, but then shows them that the parts have nothing to do with one another. It provides closeness and creates anonymity. The city is everything and its’ opposite, all at once, in the same place.”

– Wall texts for the exhibition "The City. Becoming and Decaying"

Dawin Meckel - [DownTown] Empty lots in the Centre of Detroit, USA (2009)

Hamidi Hadi’s previous solo exhibition ignited my interest in the Malaysian visual arts, and each of his subsequent shows figure to be points for self-reflection. The magnificent ‘Garden of Eden’ draws the visitor into a visual feast, although some refined works on display fall into the decorative art category. The sublime is an essential objective in Hamidi’s works, which he achieves via an active process of experimentation and evaluation. If “Alun” was about depicting nature, and “Antara” illustrated relative space, “Balam” records the act of observation from a detached lens. Two ‘Monolog’ pieces feature plain backgrounds with a geometric pattern, covered in coloured droplets and resin. These minimalist works disengage lively emotions, as if one staring at a floor of white tiles, which differ from the equally plain but politically-charged ‘Renungan I’.

Garden of Eden (2014)

Disencumbering himself from the paintbrush, Hamidi physically manipulates industrial paints to create opaque voids, vivid colours, and organic forms. Pouring paint and tilting canvases are measured interventions, taking into account the viscosity, hardness, and drying times of his materials. Directing how a line is formed is a critical process step, since the objective of drawing is not figurative representation but an intentional act of causation. Palpable flows and transparent layers crystallise time and space on a flat surface – when paints coalesce into wonderful oscillating patterns, the enthralling output is indeed a perfect moment. Like the enlarged photographic prints utilised previously, square grids draw a formal layout and magnify the picture plane. The grid also augments the 171 centimetres squared canvas, which seem to be the optimum size for creating visual impact.

Perfect Moment 2 (2014)

Visual effects culminate in ‘Garden of Eden’, which fantastic scenery and vivid colours resemble a computer-generated opening sequence for an animated movie. Artwork titles refer to local observations of nature and the seasons – emerging plants in ‘Musim Ranum’, foggy pohon beringin in ‘Dalam Kabus’, and a swirling mass in the Ivan Lam-like diptych ‘Antara 2 Musim’. Black marks are prominent in this series, along with resin bubbles and square grids, are new deconstruction methods in Hamidi’s explication of painting. ‘The Wanderer and A Day After the Monsoon Rain 1’ shows an expected extension from the previous series, but watery washes in ‘Pengembara di Monson Tenggara’ dilutes the numinous qualities manifest in most of his works. Favourite developments include the flecks of hard paint in ‘Tumbuh’, and the mesmerising brilliance of ‘Angin Tenggara’.

Tumbuh (2014)

Thirty three months after “Antara”, Malaysian visual art continues to be an unceasing passion. The synthesis of local relevance, cultural exposure, boutique business, social politics, and systemic pressures, describe a small industry still developing from a post-colonial mindset, reflecting also the state of the nation. Now I am less bowled over by Hamidi’s abstract works, not because it is less marvellous, just more aware of the different types of art that engages the soul beyond sheer beauty. Composing thoughts about art have improved my ability to write in a concise manner. Visits to art spaces are still daunting, though the fear of speaking to artists has reduced somewhat. As Wei-Ling Contemporary moves to a less public location upstairs, one hopes the gallery will eschew the international contemporary style of bigger & brighter, and retains its unique aesthetic proposition.

Angin Tenggara (2014)

Henry Butcher moves quickly to secure itself as the pioneer in Malaysian art auctioneering – establishing its own gallery space, championing collecting, and coordinating private sales. Introducing new desirables is imperative in the small local market, which the auction house has done recently by promoting contemporary Malaysian art, well-kept Chinese porcelain and Malay weapons, and now Indonesian art. Exhibited here are pastoral scenes from the modern era – Sudjono Abdullah’s red leaves and Koempoel Sujatno’s busy waterways are easily recognizable, while Balinese landscapes draw a yawn. Two works by Lucien Frits Ohl present skilful painting from a European tradition; Sudjana Kerton’s ‘Fish and Cat’ denotes its influence towards Indonesian artists.

Djoko Pekik - Buruh (1998)

Basoeki Abdullah’s ‘Gadis’ proves his unparalleled mastery at portraiture, while Djoko Pekik marks a turning point with the socially-conscientious ‘Buruh’, three distorted miners occupying a background reminiscent of Eugène Delacroix’s lesser-known landscapes. A curious observation is the clearly drawn outlines obvious in the newer works on show, from Arifien Neif’s naïve bedroom scene to the curled up figures of Putu Sutawijaya. Sourced from Indonesian collectors and auctions, the selling exhibition covers a wide range of artists whose works regularly trade in the secondary market, including previously bought in pieces at Sotheby’s and Christie’s. Like FX Harsono’s triptych print ‘Welcome Drink’, any social commentary the artist wishes to express is drowned by the contemporary art market, as auctioneers continue to embrace new collectors and speculators alike.

FX Harsono - Welcome Drink (2008)

Entering the space, an OBEY Giant morphed into the prime minister’s likeness is glanced out of the corner of one’s eyes, outlining Fahmi Reza’s approach and a great teaser to this survey of political posters. Fahmi’s “learn-it-yourself” attitude is detailed in conversation excerpts documented by Mark Teh, where remarks such as “(a) lot of the time I spend on the work is actually research”, and “…my inspiration comes from punk music – recorded in one take”, provide insight into his ways of working. The lack of preparatory sketches is also influenced by the powerful aesthetic, of prints produced by the Atelier Populaire during the 1968 student protests in Paris. Shown under the “Early Experiments” banner is a tutup mulut poster that draws from these references. Black & white illustrations compiled into booklets prove to be great reads, where incisive messages are presented in its most direct form.

Snapshots of posters in booklets from "Early Experiments" section

Other exhibited topics “Student Power” (typographic play on flower power), “Solidarity” (poster compositions like Nike advertisements), and “Occupy Dataran” (reference to images from other Occupy movements, and some wonderful rainbow-coloured arrows), spell out the general themes Fahmi represents as an activist, among more sinister inequalities such as police brutality and unjust laws. Visual familiarity is an important part of designing posters, and this aspect affirms how political posters are the same as propaganda materials, its difference dependent on the level of pronounced disinformation. Stereotypes are propagated for mass consumption – policemen have square faces and maids wear ponytails, as stencilled characters and handwritten words depict an informal, anti-establishment viewpoint.

Installation view of "Occupy Dataran" section

The clenched/raised fist is an international symbol for protest, its manifestation in Fahmi’s posters more powerful in the local context, considering that the authorities tried to ban this motif from a political party flag five years ago. Effective subversions include the distortion of recognised logos and established symbols, such as the blindfolded royal portrait from a banknote, a giant Syabas water tap, and a hilarious Jata Negara cartoon. An understated design proves to be the main criteria for personal favourites – the Malaysian flag’s yellow star melts in ’50 tahun ISA’, a black background emphasises the multi-layered veil masking the stark message ‘Gadis bertudung juga jadi mangsa rogol’, masking tape used as words in a #peoplepower graphic, and the muted yellow drawing for a ‘Foreign domestic worker campaign toolkit’ poster.

Installation view

With the advent of social media as an effective platform for activism, Fahmi’s newer creations are Facebook-friendly and feature more photographs, but lack the unembellished quality of a hand-drawn picture. The use of advertisement typefaces grab viewers’ attentions and helps raise awareness about current issues to a screen-scrolling obsessed public. Evident from the ongoing construction of the Warisan Merdeka Tower, drawing posters does not stop injustice, although looking at mushrooms does remind one of the Hong Kong protests. As Fahmi quotes in another interview, “I think it’s important for designers to ask what their role is to the public… To use the visual skills we have for social good, to support different causes. “ Raising public awareness is an undervalued act that is necessary towards the erosion of power, and this exhibition does a fantastic job at that.

Installation view of "Reclaim Merdeka Park" section

"Poster-poster yang aku lukis ini mungkin tak jadikan aku kaya dan tak berupaya mengubah negara, tapi kalau poster-poster aku ni boleh mengubah persepsi kau terhadap sesuatu isu, boleh mengubah cara kau melihat penguasa dan sistem penindasan yang berkuatkuasa, boleh mengubah perasaan empati kau terhadap mangsa ketidakadilan, boleh mengubah sikap kau dari tak peduli kepada turut sama bersolidariti dan ikut serta turun aksi, boleh mengubah hati dan semangat kau untuk merindukan kebebasan dan turut sama berjuang untuk perubahan, maka kerja aku selama 12 tahun bikin poster-poster ini sudah cukup bererti dan tidaklah sia-sia."

- Facebook post by Fahmi Reza on 14 October, 08:15 [quoted from Fahmi Reza's Facebook page] -

Installation view

While still tackling issues like flash floods and homeless persons, the Kuala Lumpur City Hall demonstrates a recent progressive streak having initiated car-free Sunday mornings and supported the development of a KL bicycle map, then now endorsing a public art event at the former Taman Tasik Perdana. The inaugural Art in the Park festival’s detached objectives include “…to create a new cultural experience (…) and highlight Kuala Lumpur as Asia’s green capital and creative city”. Driving past the ASEAN Sculpture Garden amidst heavy traffic, and braving the drizzle after a hazy afternoon, the serene lake and its surrounding greenery prove immensely refreshing upon my visit. Approaching the park’s beautiful new canopy, aesthetic calm is interrupted by one 25-foot tall tower, and crushed tin cans littered on the grass beside it.

Installation view of Tey Beng Tze (FINDARS) - Rat in the Park (2014)

The former structure by Multhalib Musa stands as a symbol of solidarity with Palestinians, its rusted yet precisely-cut steel a powerful visual marker representing the Israeli West Bank separation wall. Equally critical but more site-specific is Tey Beng Tze’s art/rat wordplay, the latter arrangement a reference to the city’s mining past, its flat presentation also a prompt to its dwellers about how inconspicuous trash is. These two works are rare examples of public art as critical interventions, and a delightful discovery among other displays – “…a scrap metal robot, a giant scarecrow, a bamboo house, an LED cloud and many other curiosities.” This event description in a newspaper write-up makes clear the level of art awareness among Malaysians, since enlarged plants at roundabouts are the benchmark for existing public art.

Installation view of Multhalib Musa - The Cornerstone of Peacelessness (2014) [picture from Kumpulan kejuruteraan kimpalan keluli karat kontemporari kuang Facebook page]

“Found in KL” is a fitting theme, but upcycled constructs pair poorly with the historically aristocratic environment. Sabri Idrus’ windmill-doors are salvaged from Brickfields, and is a rotating device that belongs in Brickfields. Multhalib’s ‘Two Sides Two’ looks insignificant when displayed on open grass. Umibaizurah Mahir’s ceramic birds are perched too high to view underneath glaring daylight. 'Landed Nimbus' by Sharmiza Abu Hassan is reminiscent of the fairy lights along roads leading out of KL, its clever design easily missed when situated on higher ground. Foreign contributions fare no better – Marie Hugo’s ‘Pantun Forest’ is housed in too small a space for quiet appreciation; Handiwirman Saputra’s columns are not familiar shapes, resulting in one presentation missing a locally-relevant visual cue despite the thoughtful built-up.

Yeoh Lian Heng and Tsuji Lam (Lost Generation Space) - Gerai Gerak Seni (2014) [more pictures from Yeoh Lian Heng's Facebook page]

Interacting with the public is Lisa Foo’s giant scarecrow “made from leaves, twigs and branches collected at Lake Garden itself”, a wonderful attraction that hopefully stays in place beyond the festival end date. Yeoh Lian Heng and Tsuji Lam’s ‘Gerai Gerak Seni’ also draws the crowd with pastel coloured carts, its exhibition of old photographs, printed vignettes, and art catalogues, effectively engaging the audience. Tyre swings and makeshift pondoks left over from a children’s workshop resemble one natural playground, which contrasts sharply with the bright plastic slides nearby. Beside that workspace are badminton racquets and pink shuttlecocks on a tree trunk, made by two young artists. ‘Sarang’ shows how public art is best embedded into its surroundings, especially when the beauty of a vast natural landscape, easily subdues man-made creations within a city park.

Installation view of Lisa Foo - Walk in the Park (2014)

As the counterpoint to private art, the term public art is grossly misleading, considering that religious sculptures and political murals form the history of public art. These tokens of power require patronage, evident from the list of corporate sponsors for this event, as installation and maintenance budgets have to be factored into such commissions. The festival director quotes Hong Kong and Singapore as having more mature contemporary art scenes and public sculptures, unsurprising given that these two islands boast high income inequality. In a city where its denizens understand public spaces as air-conditioned malls owned by local tycoons, art in the park remains a far-reaching concept for many. Public art that encourage audience participation or photo ops are useful to increase art awareness, but its status as a technocratic tool cannot be dispelled.

Art in the park?

“Public art is not a substitute for urban renewal or social work, although projects may address or include such functions. Public art ideally creates better places and provides enjoyment, insight, and maybe even hope to its participants, viewers, and users. But it cannot correct deeper problems stemming from widespread unemployment and poverty, the neglect of public education and healthcare, and all the other social ills so glaringly ignored at the moment. Yet these unreasonable expectations are often implicit or imbedded in the commissioning of public art.”

- Public art and urban regeneration: advocacy, claims and critical debates; Hall, T. and Robertson, I. (2001); Landscape Research, Vol. 26, No. 1: 5 - 26

Huda Nejim Al-Asedi and Kay Lee (with guidance from Noor Mahnun Mohamed) - Sarang (2014)

Henry Butcher celebrates its fifth year as Malaysia’s art auction pioneer by offering 125 works, including 14 pieces contributed by Indonesian partner One East Larasati. 13 of its first 33 lots feature a woman’s portrait, among pastoral scenes that occupy the majority of the holdings. Great composition is seen in Chuah Thean Teng’s ‘Feeding the Cat’ and Tew Nai Tong’s ‘Market’, while Fung Yow Chork’s panoramic ‘Pasar Tani’ projects amazingly vibrant colours. Expressionist tendencies are less apparent, apart from some abstract works leading to the star lot, the swirling ‘Berenang’ by Syed Ahmad Jamal. A 2008 Awang Damit Ahmad work sold for USD 77,364 at Sotheby’s one month ago, and his powerful ‘Essence of Culture Series’ should keep the crowd waiting for the last lot, although the ridiculously low estimates implicate an irresponsible auctioneer.

Tew Nai Tong - Market (1989)

A pen sketch of some goats by Cheong Soo Pieng is touted as “a fine drawing” and assigned a five-figure estimate. Other interesting trends to watch are the escalating prices of Chen Wen Hsi, and the declining prices of Huang Yao. Two figurative drawings by Khalil Ibrahim set the tone, for a collection with great monochromatic and dark-coloured works. Ilham Fadhli’s surreal landscape broods with distinct details, while Andy Dewantoro’s ‘Keep the Dream Alive #1’ is downright sinister. His monoprint figures done at STPI aside, it has been a struggle to appreciate Ahmad Zakii Anwar’s body of work. However, the sensual collar illustrated in ‘Agenda Larut Malam’, convinces myself that the artist’s hyper-realist rendering does reveal certain truth about a visual picture.

Ahmad Zakii Anwar - Agenda Larut Malam (2012)

Traders goggle over inflated dollar values of underestimated Awang Damit Ahmad works, as market manipulation activities continue for Kuo Ju Ping and Tajuddin Ismail paintings. Early August saw KL Lifestyle Art Space staging its Georgetown Festival edition in Bangsar South, where at least 18 pieces have appeared in its previous auctions, and 13 out of 84 offered lots were withdrawn. Subsequent editions see suspiciously high prices hammered down, as its reputation continues to take a beating. A Zulkifli Yusoff sold six months ago now transacts at a 38% discount, while an Ahmad Shukri Mohamed offered between RM 29 – 35,000 at The Edge Auction sold for RM 19,040 on the 8th of November. Major pieces by Abdullah Ariff and Yeoh Jin Leng fail to sell, although the RM 29,120 paid for a 2003 Cheong Laitong painting denotes a bargain.

Khoo Sui Hoe - Call of the Wild (1966)

Estimation of artwork prices remain as imprecise as ever, where a “Hijau” series painting by Yusof Ghani was estimated at RM 16 – 32,000 by KL Lifestyle Art Space, yet a similarly sized painting from the “Ombak” series was estimated at RM 45 – 70,000 by Masterpiece Malaysia. Both works went for RM 50,000++. The latter auction house sold an incredible 199 artworks in its October sale, many of which are undated in the catalogue. Chia Yu Chian’s Van Gogh-like orchids and Cheng Haw Chien’s colourful landscape attracted serious buyers, although the dumping of four works by Mat Ali Mat Som reveal the ugly side of art as disposable asset. Contrasting fortunes for two ‘Gibbons’ paintings by Chen Wen Hsi indicate an authenticity issue that plagues the name, as traders move on beyond ‘C’-surnamed Singaporeans to promote Lim Tze Peng as the next investment-grade artist.

Chia Yu Chian - Still Life: Orchids (1977)

For its Malaysia Day edition, Henry Butcher conducts a successful trial in offering luxury items beyond paintings. A five-figure sum seemed fair for an exquisitely carved 17th century keris, but steep for a set of early 20th century porcelain tableware. Back to peddling large paintings in November, works by Chong Siew Ying and Ahmad Fuad Osman were hammered down for double its high estimates, while younger artists Ilham Fadhli and Ali Nurazmal Yusoff failed to sell. The "museum-quality masterpiece" cover lot by Syed Ahmad Jamal only achieved its low estimate of RM 160,000 before buyer's premium, yet a small Ibrahim Hussein collage attracted competitive bidding and eventually settled at a "whopping" RM 50,400. Lee Cheng Yong continues to do well in Henry Butcher auctions, although one does expect Ahmad Zakii Anwar to command higher prices.

Ilham Fadhli - The Late Greats (Not Too Late, Not That Great) (2010)

With 116 lots sold for a total of RM 2.98 million, the auctioneer should consider hiring one to write more professional press releases; It is, however, hard to disagree with the “astounding RM 123,200” paid for a Yong Mun Sen oil painting. The "participation of registered bidders from 11 countries" touts the global demand for Malaysian art, although it is unclear how many local works are headed overseas. Superlatives gloss over facts - “…Hossein Enas performed exceptionally well with all three works on offer (…) exceeded their lower estimates”. The portraitist is among the modern artists under-performing this auction season, along with Huang Yao and Keng Seng Choo. Nanyang artists continue to be popular, but works on batik see a dip in interest. As the Awang Damit show winds down, the next potential auction star is already being snapped up - Fauzulyusri, anyone?

Ahmad Shukri Mohamed - Playground Series (2002)

Black & white marks local art during this year end, led by Minstrel Kuik's prize-winning drawing of ladies performing the Viennese Waltz on '16 Sept 1963'. The literally negative approach is seen also in Sabihis Pandi's diptych, among other attractive works like Chiang Lup Hong's 'Imaginary Landscape 1', and Azam Aris' caricatured crowd. Representational subjects form a contrast with the works hung on the organiser's walls - one awe-inspiring Ismail Zain digital collage, and a number of panoramic panels by Chin Kong Yee. Current and former prize winners show at "Catalysis", the Dasein graduates group's best work a powerful white triptych by Yeoh Choo Kuan. Many exhibits present figurative posturing, a sign of complacency that the college faculty should heed, in this current climate where pandering to collectors signifies the death of artistic creativity.

Sabihis Pandi - Ops Tersilap, Silap Mata (2014) [picture taken from Sabihis MD Pandi's Facebook page]

Research lecturer Pok Chong Boon creates a maze from newspaper strips at Wolo Hotel, as one with no regard of state-controlled media, strides straight through the imaginary veil to find dark reflections of prime ministers. More interesting is one white hanging jacket, and a flip through Andrew's PhD dissertation titled The Mind of the Everyday in Contemporary Fine Art and Zen Buddhist Practice. Another Dasein teacher Zac Lee paints fighting animals in his signature fluid style, but the monochromatic palette dampens the intended sardonicism, and the resulting images fail to impress. Downstairs, Shalini Ganendra displays selling works from a collector. A deliciously ironic painting of a cake by Shia Yih Yiing is complemented with a hanging nursery rhyme, while Yau Bee Ling's small depictions of family members are simple but heartfelt.

Yau Bee Ling's work at Shalini Ganendra Fine Art

Frog-inspired pictures provide more visual stimulation at Galeri Titikmerah, where Azeem Idzham supplements poetic prose beside his paintings to great effect. Black & white imbues an arcane quality into 'Pentas', and the smaller works fascinate with its relatively sparse but clearly drawn elements. Hollywood and Jack Kerouac references in Norberto Roldan's solo exhibition at Taksu prove dull, the monochromatic diptychs barely invoking nostalgia as compared to his wonderful assemblages also on display. Large self-portraits upstairs by Hisyamuddin Abdullah call into question, the role of this established gallery whose stable of young artists have been churning out increasingly big works, whilst exhibiting minimal artistic progress.

Azeem Idzham - Kotak Mati - Dongengan (2014)

One such artist is Fadilah Karim, who attempts to break the mould by blurring a lady's portrait in her triptych shown in "Suarasa 3". This approach takes after the isolated figures in Gan Tee Sheng's recent works, one artist also associated with Taksu. The UiTM graduates group show at Segaris Art Centre sees one clever construct representing the distracted urbanite. Technological preoccupations aside, Tengku Sabri Tengku Ibrahim's monotonous wooden sculptures, and Shahariah Roshdi's intricate installations, prove refreshing and modestly-scaled. Perhaps, one's visual contrast knob is turned to its maximum differential, in light of the colourful farce that is happening now at the National Visual Arts Gallery. High street fashion is paraded in KL museums, as artists retreat overseas to exhibit monochromatic woodcut prints, and black & white photographic diptychs.

Pok Chong Boon - Labeling Tags Attached to Clothing (2003)

Visiting the Kepong Baru wet market on a weekend morning is a phenomenal event – navigate through crowd of cars and people, taste mango slices offered by the fruit seller, step on melted ice emitting a fishy smell, feel the texture of anchovies and potatoes, shout orders to the char kuay teow hawker, etc. One pastel green metal door along the street is quaint but not out of place, opening up to a flight of stairs strewn with crushed Styrofoam containers. Kang Mei Yi’s percipient intervention is well-placed to remind visitors, especially one whom just arrived from the marketplace, of one’s improvident attitude towards the disposable object. A supplementary exhibit by Gan Kwang Ze hangs from the joist, his bulbous knots made of black plastic bags, suspending the unnecessary aesthetic judgement cast upon a functional item.

Installation views

“Phenomena” is the second group show organised this year by collective Ongoing Projects, offering a platform for young artists to exhibit and gain credibility. A non-conventional gallery fits the experimental nature and a youthful uncertainty that pervades the works, the diminished expectations setting the scene for an enjoyable viewing in the sunlit space. Kwang Ze’s ‘The Nest’ was last seen in a final year students’ exhibition, which include paintings by Grace Yeo Ning and Justin Low Yuan Koon also featured here. Bold outlines hamper the former’s presentation; the latter’s muted surrealism recalls the works of Gan Tee Sheng, but with better spacing between subjects. Positioning contributes significantly to the photograph’s impact in Ho Chee Jen’s series of “Roots or Branches”, which first and fifth panoramas offer a more salient perspective than the rest.

Ho Chee Jen - Roots or Branches V (2013)

The quarter-life crisis sentiment from “Knot” persists here, as Krystie Ng subjects Disney characters to modern-day scenarios, dispelling unrealistic fairy tale expectations in the process. Broken mirrors and wall writings resort to visual form as expressive technique, although it is amusing how Lee Sin Yee’s repeated jottings recall both Bart Simpson and Tracey Emin at the same time. Kepong native Chong Yi Lin builds a kaleidoscope with pictures captured at the pasar outside, projecting condensed yet vivid images in a delightful cycle. Constructing memories are a form of escapism necessary in the age of simulacra. As a twenty-something confronting harsh realities, however, retreating to the hustle and bustle of the wet market, may be the best remedy after all.

Digital collages from Chong Yi Lin - Kalos . Eidos . Skopeô (2014)

As the story goes, sculpture in Malaysian art developed from a local crafting practice, and its modern form synthesises eastern and western traditions more effectively than painting ever did. Constantin Brâncuși springs to mind when one sees Tengku Sabri Ibrahim’s ‘The Warrior’, its elegantly elongated shape and shiny smooth surface, subscribing to features of the Romanian’s works. However, the abstracted figure takes after an enlarged keris hilt, with carved recesses that resemble fighting wounds. References to a traditional weapon, and the legends that come with it, transform this block of wood into Malaysian art. Also universally beautiful yet alluding to local culture is Mad Anuar Ismail’s ‘Telur Kencana 1’, which numinous qualities of khat (Arabic calligraphy) is presented in a wonderfully-balanced, inverted-point sculpture.

Tengku Sabri Ibrahim - The Warrior (1988)

Past and present mythologies anchor the best works, in this showcase of works from a prominent private art collection. Sharmiza Abu Hassan’s crookedly-hung ‘Alegori 1: Hati Nyamuk’ and Mad Anuar’s invigorating ‘Storm Riders 7’ are compelling interpretations of fables, although the exhibited studies fail to reveal additional insight. Multhalib Musa’s ‘By Default’ repeats a symbolic motif, both questioning and legitimising a constructed belief that consolidates power via racist proclamations. Fighting cockerels carved onto jambu laut woodblocks present a sublime amalgamation of printmaking and folklore, Juhari Said’s tall masterpieces once prompting Azman Ismail (whose twisted pole creation is featured here) to state, “…beliau (Juhari) mengeksploitasi makna dan falsafah ayam, sekali gus memperlihatkan nilai-nilai intelektual masyarakat Melayu tradisional.”

Juhari Said (2006) - [left] Laga; [right] Taji

An ethnic Malay background helps in appreciating Raja Shahriman, whose struggle with figurative representation and threatening gestures, manifest in three metal sculptures. Sinuous lines from the “Nafas” series, contrast with the direct statement-making of Zulkifli Yusoff, whose distorted subjects exhibited at the bottom of steps, negates any political intent that existed previously. Hung above the glossy floor, Paiman’s salvaged constructs suffer the same fate, although Sharon Chin’s cut-out “Monsters” allow for enlightenment upon torchlight inspection in a dark room. Contained within a Perspex box, Nur Hanim Khairuddin’s prize-winning spell book remains arcane and undiscovered. Compared to another collector-sculpture show held earlier this year, this exhibition suffers from a stuffy arrangement, the chosen display layout stifling the aura of the art object.

Multhalib Musa - By Default (2002)

Sculpture and/or installation-only art exhibitions are not common, and here the noble aim includes to “demonstrate the sheer range and diversity of the medium in this country”. This objective ultimately lets the show down, as personal taste is forgone in favour of “variety and breadth”, leading to an incoherent display of objects that promotes non-paintings as rare collectible. The catalogue foreword equates the couple’s collecting endeavours in the early 1990s to the Singapore Art Museum, unnecessarily blurring the lines between private collector and public institution. Curator Rachel Jenagaratnam even nullifies her influence, by beginning her essay with “(w)orking with art collectors is an interesting ball game…” and ending it with “…one would be hard-pressed to disagree that they are curators in their own right.”

[foreground] Bayu Utomo Radjikin - Growing, Edition 5/5 (2004); [background] Umibaizurah Mahir - Toys (Gerabak) (2006-2007)

In an interview, Pakha states the modest intention “…to elevate (appreciation of) sculptures to the level of at least painting or drawing…” Some exhibits are selected for its non-traditional media, which creates a spectacle when viewed out of context. Portraits on seashells, one lightbox, four glass jars, and a Sanyo rice cooker make the cut, to go along with more traditional bronze sculptures. Ahmad Shukri’s fibre glass eggs denote the compendious nature of the Sulaimans' collection; Bayu Utomo Radjikin’s stunning bust demands a walk around it to appreciate the sculpted details. ‘Jesus’ Tools’ by Anurendra Jegadeva proves why personal taste should be the only criteria when individuals collect art – the painted wooden plane simultaneously recalls a biblical account, a functional action, and an erosion of spiritual beliefs – such reflections are likely less salient to a non-Christian.

Anurendra Jegadeva - Jesus’ Tools (2005)

Myth-making aside, material is the other characteristic which demonstrates sculpture as a fully developed Malaysian art form. Azahar Manan’s tribal masks, Sharmiza’s narrow keyholes, and Faizal Ramli’s juxtaposed voids, carve culturally relevant forms that evoke introspection in a wooden diptych format. Tengku Sabri’s ‘Column XV (Seri Sarawak)’ emphasises the act of assembly rather than sculpting, marking the artistic evolution of one who has since moved on to found object constructs. Latex and its stretchy quality is utilised by Juhari to mock the inconsistent art critic, while Umibaizurah Mahir casts malleable clay into fragile toys and pretty figurines. Industrial materials reflect the increasingly urban aesthetic – Ramlan Abdullah exploits the tension of stacked glass; Multhalib realises his concept digitally before joining steel loops into a captivating hanging construct.

Sharmiza Abu Hassan - Nur Pintu Hati (Diptych) (1998)

Depicting the tools and gestures necessary to create art, Rosli Zakaria’s rectangular block mesmerises with its static set up and erring title, the intentional delay heightening the tension in making objects. Figurative representation is questioned in ‘Bagai Lembu Dicucuk Hidung…’, while ‘Belakang Parang Kalau Diasah’ projects a gestation period for ideas to take shape. The common assumption that painting is superior to sculpture should be challenged in Malaysia, where the interpretation of myths and use of local materials, signify a medium more effective in portraying the domestic landscape. Walking among outstanding artworks, one pictures this collection being owned and displayed in a public institution, and not in a gallery promoting private art museums. The private reluctant wall has to come down, so that the public can inhabit this imaginary space.

Rosli Zakaria - Gunting Dalam Lipatan... Bagai Pahat Dengan Pemukul…. Bagai Lembu Dicucuk Hidung…Belakang Parang Kalau Diasah (2008)

Appreciating a Yeoh Choo Kuan painting used to be an engaging experience. Underpainting is seen through layers of violent brush strokes, the smell of oil paints hang heavily in the air, thin horizontal lines resemble paper cuts, and esoteric titles imbue his abstract paintings with a reticent impression. Unveiling a “flesh object” approach, the usual sensory triggers are now suppressed behind mirrored frames hung in the neighbourhood gallery. Peeling lacquered oil paint mimic self-harm, but any brutal sentiment is encased in favour of protecting the material product, where art collectors treat abstract paintings as accumulated asset. Physical manipulation of paint becomes the spectacle in a hit-or-miss show, although some hits demonstrate the considerable prowess of this young artist.

It’s Just One of Those Days (2014)

These works “anthropomorphized the canvas; moving away from mere depictions of the figure to a sort of theatrical play by treating the paintings as props to acts of mortification.” Haffendi Annuar’s catalogue essay describes the series well, his dramatic prose aping the beneath-the-skin technique of Choo Kuan’s. Referencing film dialogue in artwork titles seems contrived at first, but the raw expression on canvas indicates one genuinely moved by scripted moments. As one who has watched the majority of movies quoted, it is inevitable to associate these paintings with the silver screen. American Psycho and The Clockwork Orange are referred to more than once, and one does wonder why the colour orange does not manifest in ‘I Was Cured Alright’.

I Was Cured Alright (2014)

A blue-purple tone and organic-shaped cuts in ‘They Were Inside Us’ recall The Joker’s narration in The Dark Knight, while blood-red feature prominently in vampire movie references. Funnily enough, Woody Allen movies influence the most attractive pictures. ‘We Came so Close to Perfection’ (Vicky Cristina Barcelona) projects a bare yet powerful aesthetic, and the bright hues in ‘I Don't Know How Much Longer I Can Keep This Smile Frozen on My Face’ aptly describe the dysfunctional romance seen in Annie Hall. Vivid colours are revealed also under a gritty white layer in ‘It’s Just One of Those Days’, bringing to mind Limp Bizkit’s opening line from Break Stuff. Quoting the other featured song lyric, “all my senses are on fire” when viewing Choo Kuan’s works, only when the reflective glass is broken.

Be Me for a Little While (2014)

"The last chord has died away. In the brief silence which follows I feel strongly that there it is, that something has happened.
Some of these days You'll miss me honey
What has just happened is that the Nausea has disappeared. When the voice was heard in the silence, I felt my body harden and the Nausea vanish. Suddenly: it was almost unbearable to become so hard, so brilliant. At the same time the music was drawn out, dilated, swelled like a waterspout. It filled the room with its metallic transparency, crushing our miserable time against the walls. I am in the music."

- La Nausée, Jean-Paul Sartre (1938) [translated by R. Baldick, 1965)

We Came so Close to Perfection (2014)

Housed beside one well-restored kampung house, this selling exhibition “features a selection of antiquarian and recent books, maps and ephemera on Malaysia and Southeast Asia.” Beautiful maps and quirky posters recall a colonial past, the exhibits flanked by Ilse Noor’s etchings of local historical buildings seen in the Shell-commissioned Warisan Nusa. Flipping through 80-year old books about gardening techniques and Chinese porcelain is endlessly fascinating, while 1960s Papineau travel guides provide a glimpse into a time before Cuti-Cuti Malaysia. A 1978 edition of Aliran titled ‘Wither Democracy’ compiles essays and debates from local intellectuals then. Reading Tunku Abdul Rahman’s foreword, one wonders, what happened to the legacy of healthy political debate without invoking draconian laws?

Ilse Noor - Makam Tok Pelam - Trengganu (1986) [ed. 20/300]

Paper lanterns and banners with painted slogans hang side-by-side in a mid-autumn festival celebration held along Jalan Sultan, the protest in disguise documented by Gan Sze Hooi in ‘Guardian of Petaling Street’. Dedicated to all who participated in activities organised by the Petaling Street Community Art Project (PSCAP), Sze Hooi’s inaugural solo exhibition draws on his great eye for two-dimensional perspective, to preserve a heritage conservation movement as an interactive storyboard. Progress takes the form of construction work, where the viewer “discover faces that we recognize in the community” among old buildings and barren landscapes. The artist’s daughter is portrayed as a giant symbol of hope, contrasting with the wooden tower of despair erected at the centre of the exhibition space.

Paradise Lost (2014)

Painted onto canvas backed with magnet, moveable human figures and modern machines allow the audience to create subjective scenes and construct desired narratives. This outstanding approach triggers active participation and empowers the imagination, directing the visitor’s thoughts towards cultural preservation and urban livelihood issues. The closed window mechanism for ‘Apocalypse’ and ‘Hotel Lok Ann’ also work well, especially for the latter which opens up to an entire cast of eccentric characters and ample space for individual storytelling. In ‘City of Corpses’, heritage buildings are painted on the flip side of magnetic parts that make up the Warisan Merdeka Tower, the artist illustrating the cost of development in a most direct manner.

Installation and detail snapshots of Hotel Lok Ann (2014)

Earthy colours and flat painting form a subtle background for amazing scenes to materialise – one can pile up cranes and cars, arrange for a figure to offer incense sticks to a character that looks suspiciously like the curator, or have Tunku Abdul Rahman fly over Stadium Merdeka instead of proclaiming Malaysia’s independence in it. These subjects, including the MRT construction workers, are a part of the locale’s storied history. At this juncture, the artist’s attempt to document the past, present, and future, becomes muddled as a moralising sentiment creeps into the works. Despite his best efforts, the invisible power that masterminded this turn of events remains unseen throughout. Perhaps, that is the revelation we all are waiting for.

For My Mother (2012)

"And he who was seated on the throne said, “Behold, I am making all things new.” Also he said, “Write this down, for these words are trustworthy and true.” And he said to me, “It is done! I [am] the Alpha and the Omega, the beginning and the end. To the thirsty I will give from the spring of the water of life without payment. The one who conquers will have this heritage, and I will be his God and he will be my son. But as for the cowardly, the faithless, the detestable, as for murderers, the sexually immoral, sorcerers, idolaters, and all liars, their portion will be in the lake that burns with fire and sulphur, which is the second death.”"

- Revelation 21: 5–8, English Standard Version

Evolution of House of Castaway I (2014) [picture taken from the Facebook event page]

Twenty Malaysian Institute of Art (MIA) students exhibit works from their second-year drawing classes, covering the entire art space with figurative illustrations of different sizes and mediums. Facial distortions and amalgamation of living and non-living subjects make a fascinating statement of what one recognises about the human body, formal properties like line and shade notwithstanding. Small doodles and motion captures prove delightful finds among the cluttered presentation, as real-life models transform into an expression of each student’s graphic style and creative throughput.

Installation snapshots

Gan Siong King selects 23 pictures from the internet then paints a realistic copy of it. As forewarned by the exhibition title, any attempt to decode his decade-long output, has to take into account the incoherent bits and pieces that intrigue one creative mind. The artist’s personal preoccupation with technological developments and outer space, manifest a desire to interrogate his “bad relationship with paintings.” Trained in painting and passionate about it, the arresting images chosen denote visual appeal as the main criteria, where the creative act of meaning-making is subsequently assigned via titles and web links. Tan Zi Hao’s eloquent essay states, “…a closer inspection on Gan’s paintings is never really satisfying because his paintings never elucidate despite being ‘realistic’.” So, what pleasures are attained upon inspecting these paintings?

The persistence of why (2014) [Reference image]

Beginning with the desire to understand colour, a heart-shaped diamond makes reference to light, refraction, and the colours in between, while the RGB blocks on a Cathode Ray Tube (CRT), indicate the elements that make up colour on a computer screen. The latter forms a diptych with a drawing of Yttrium, a rare earth element included in CRTs; Exhibited two metres away is a picture of neodymium magnets, and a DIY electric motor constructed using a battery cell, copper wire, and magnet. Power sources describe the profound impulse to paint, this desire for creation more obvious in the stone axe head illustrated on a sea blue background. Hung opposite are overt symbols of the industrial revolution, two mechanical engines hinting at a related invention – the production assembly line, where items are created repetitively.

Sooner or later everything becomes a copy of a copy (2014) [Reference image]

Industrial capitalism also advanced marketing methods that emphasized the aesthetic qualities of merchandise, which narrowed the association between art and manufactured product, through shop window and trade fair displays. This reconfiguration in the act of looking is elaborated in paintings based on a Windows desktop wallpaper, and one Martian scenery snapped by the Pathfinder rover. Thematically connected to the other exhibits, such landscapes question both the mechanical lens that captured the picture, and the technological set up of projecting it. Self-reference occurs regularly among the mimicked pictures, where dwelling on the ownership of Googled images is perhaps Siong King’s intent, yet such onerous thoughts are best ignored and assumed as the artist’s failure to accentuate salient points.

Bliss (2005) [Reference image]

Having ‘Search by image’ via Google Images before my visit, these works emit a strong aura upon visual inspection. Wong Hoy Cheong, whose painting is referred to in the Martian landscape, offers a useful approach to interpret Siong King’s presentation – “This foldedness-of-experience (of the real and virtual worlds) (…) vis-à-vis the overcoming of subject/object dichotomy in real time and space, recognises that the slippages in the real-virtual continuum are integral to contemporary life.” Staying connected to a digital world is now a fundamental experience, but supplementing wall labels with multiple QR codes indicate an artist who lacks confidence in the audience. When the invested visitor responds to his desire to show, one is led through a frustrating Daedalian web of cross references which attempt to impose multiple layers of meaning onto photographic images.

Sisyphus (2014) [Reference image]

Relating less to scientific knowledge gained from YouTube videos, singular objects that touch on personal politics prove to be the best works on show. A hominid fossil is titled ‘Ancestor (or Non-Bumiputera)’, transforming a still life subject into a clever dig at indigenous claims of superiority. ‘Terang Bulan’ alludes to one French-Indonesian song which evolved into our national anthem, the circular painting clearly depicting the dark side of the moon. This in turn recalls the iconic cover of a Pink Floyd album, and the mockumentary about Stanley Kubrick creating a fake moon landing. Malaysia’s formative years curiously coincide with the time when magnetic-core memory was the dominant form of computer memory. Titled ‘Sisyphus’, this recreation refers to the repetitive process involved in memorising; the object’s obsolete status relays the futility of memory.

Terang Bulan (2014) [Reference image]

A black metallic form used in letterpress printing refers to the proliferation of books and subsequently religion, yet the painting’s title alludes to a biblical account of how language was created to confuse mankind, the picture questioning the correlation between text publications and spiritual enlightenment. The desire for learned knowledge is evident in this exhibition, but an underlying sense of self-loathe is present, as the artist fails to locate answers in his continuous interrogation of painting. Prosthetic limbs attached to a thalidomide patient imply a desire to repair a disability, while a penicillin culture vessel insinuates a desire to cure oneself from an ailment, in this case, an addiction to painting and art. By presenting readymade images undone via painting, the wartime references mask the true conflict, which is the artist’s “bad relationship with paintings”.

Confusion of tongues (2014) [Reference image]

Art that invokes deep thought is typically good art, although Siong King’s forceful approach towards restating his personal aesthetic, presents a broad and reflexive viewpoint that is too open-ended for subsequently meaningful reflections. Raising my mobile gadget up towards the QR codes stuck beside a painted image of one celebrity scientist, I wonder, which is the artwork – a painting of a still frame from a television program, or this technological marvel known as the smartphone? As Marcel Duchamp once remarked, “ …I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favours. In other words, no painter knows himself or what he is doing…” In a show of paintings which leads one to appreciate art beyond wall hangings, not knowing – may be the greatest pleasure of it all.

Fountain (a.k.a inside this vessel, a magic drug is brewing) (2014) [Reference image]

Ali Nurazmal Yusoff curates this black & white exhibition, its wacky title depicting fun by virtue of its wide range of mediums on show. Fish designs seared onto canvas, a ‘Turning’ canopy projecting shadows, suspended snake and ladder toys, and sandwiched parchment between Perspex, display works from developing artists yet to realise their concepts or execution in its entirety. Established artists join in the monochromatic exercise via utilising innovative techniques – Azrin Mohd’s light boxes present a natural progressive for direct narratives, and Jamil Zakaria’s sculptures follow on from the artist’s characteristic manipulation of wire. Traditional oil painting retains its allure with Shafarin Ghani’s ‘Rohtang’, the sublime blend of greys denoting one under appreciated painter whose more colourful works upstairs impress with its controlled tone.

Shafarin Ghani - Rohtang (2014)

Another masterly painter is Husin Hourmain, who presents a stunning black-on-black calligraphy composition that ruminates over the mysterious letters Alif م, Lam ل, and Mim ا. Raja Lope Rasydi recounts his childhood memories via a departure from his airbrushed mecha characters - movie icons, found objects, and electronic devices, combine in a delightfully playful melange hung on a mesh panel. Ali also apes the silver screen with 'The Goodfather', strangely hung separately from its accompanying work '"A" for Epal', which illustrates the artist's children encased behind a wooden grille. The self-negating choice is a strange one - an isolated Mafia boss is interpreted as allusion to a patriarchal society, but when family members come into play, the overall picture represents the tenderness of a father.

Installation view of Raja Lope Rasyidi - Self Portrait - Self Maintenance II (2014)

The neighbourhood gallery celebrates this festive season of giving, by supporting self-taught and socially-conscientious painter Tan Wei Kheng, although the artist being featured in Singapore Biennale 2013 probably factored into the gallerist’s decision to represent him. Selling out by opening day, the exhibition presents illustrations of the Penan people, an indigenous tribe active in rainforest near the Sarawak and Brunei border. Having encountered them while trekking, it is difficult to empathise with realistic paintings which exotic presentation risks trivialising the real issues, and seeing Orang Ulu as the Other.

Let Me See You Again (2014)

Wei Kheng “…composes his paintings as triptychs or mosaics of canvases, constructing a collage of images of their struggle, values and hopes (…) In articulating the Penan’s lived experience, Tan visualises the language of the Penans.” Ong Jo-Lene’s excellent essay complements these paintings by articulating about the tribe’s problems in sustaining their nomadic lifestyle, and their living practices that emphasise on coexisting with the natural habitat. Dichotomies aside, this essay is indispensable in interpreting the artist’s genuine intent to highlight a minority plight by painting cultural loss. When viewed and read together, one can empathise with the shared desire to uphold the rights of an aboriginal people whose “…language fails to express the violence of our world.”

Language of Leaves (2014)

Greyscale images and isolated figures present a conventional approach and a direct message; conversely, works which juxtapose subjects project visual contexts for greater appreciation of socio-cultural concerns. ‘Language of leaves’ depicts a leaf-root sign that indicates the whereabouts of two families, and also serves as an invitation to others. A coin (as trading currency) is threaded into a Penan man’s necklace in ‘The New Hunter’. The blue tarpaulin canvas in ‘Our Beautiful Garden’ makes one wonder about the material used to construct roofs before this. In times when people from a notable gallery is suspected of stealing from one Chinese artist, the spirit of Molong - which interpretations include "not taking more than needed"– is something everyone should learn from.

Our Beautiful Garden (2014)

“When we look at images of the Penans - be it in documentaries or the beautiful paintings here - what do we see? Can we see beyond the exotic? Do we think of them as still existing to teach us lessons in sustainability? A nostalgic trip to the days of living close to nature? A reminder that we have “come so far” from days of “roaming the jungles”? Or can we begin to catch a glimpse of the nuances of what it means to be Penan? Humanity needs to recognise the independence and autonomy of these differences we think of as the “Penan’s way.” That there can be more than one claim to reality.”

- Excerpt from catalogue essay for “Language of the Jungle” exhibition, Ong Jo-Lene, 2014

The New Hunter (2014)

In a year where news highlights include two airplane disasters, the Bank Negara Malaysia Museum and Art Gallery puts together an exhibition program that commemorates the ten years since the Indian Ocean tsunami struck, where an estimated 184,000 lives were lost and ten times that number displaced. London-based Oi Nuen Sprunt stages an installation that aims to explore “damage and healing”, where large ink paintings on layered paper are hung around an organza-covered space. A Louis Ghost chair and casualty statistics contribute to the sombre mood, although the obscure performance video and deliberately messy presentation block out any sense of empathy. Perhaps the sunlight streaming through the windows helps one focus better on the here and now, instead of the art installation.

Installation snapshots of Oi Nuen Sprunt - ShoutCryRoom

The adjoining gallery shows recent works from 42 members of the Malaysian Watercolour Society, and 15 international artists. A medium utilised by the British to depict maritime landscapes in Malaya since the 19th century, watercolour remains popular in this tropical land with its easy application and quick drying. The overwhelming focus on pastoral scenes and heritage buildings, however, deters any serious consideration of it as an effective medium in Malaysian contemporary art. Kho Choon Lee’s paddy fields during twilight are beautifully illustrated, while Seah Kang Chuan’s riverside shack reveals great skill in drawing ‘Reflection’. Two-wheelers are common subjects painted against a nostalgic background, which assumes the self-propelling vehicle as an antiquated machine, instead of one currently in vogue and promoted by city planners worldwide.

Kho Choon Lee - Twilight #1 (2013)

Referring to works by the Penang Impressionists art group, Redze Piyadasa once remarked, “(t)hese idyllic and scenic panoramic views were influenced by the Classical landscape painting tradition and were admired by the local artists.” Notable painters in the following generation such as Tan Choon Ghee continue to have a strong influence here, although ‘Penang Prangin Heritage Zone’ by Koay Shao Peng projects an interesting birds-eye view of an old yet urbanised part of town. Koh Shim Luen’s chickens on sarong portray innocent pleasures; two aggressive cockerels in a cage by Ooi Aik Cheong show the opposite sentiment. Samsudin Osman’s depiction of a bridge in Putrajaya is a sad indicator that this fluid medium familiar to Malaysian schoolchildren, only has the potential to paint scenes similar to what the Impressionists did more than a century ago.

Koay Shao Peng - Penang Prangin Heritage Zone (2014)

Having listened to the captivating interviews BFM conducted with historian Peter Carey, one’s historical imagination is ignited while browsing “From Bandung to Berlin”, an online project that creates fictional history in the “time between the first Asian-African conference in Bandung 1955 and the fall of the Berlin Wall in 1989.” The prologue describes the historical archive as “…a utopian – or dystopian – site of knowledge, an imagined junction where identities, memories, values and beliefs are contested. In most cases it is impossible to grasp truth as a whole, or to depict it with precision.” With its narratives categorised in past-present-future time frames, navigating the website is like visiting an art space with three sections.

Trailer for War is a Tender Thing [clips from this documentary by Adjani Arumpac appear in the 'Spectre of Alonto’ narrative, by Renan Laru-an]

"The New Past" covers stories from the three countries that make up the proposed confederation of Maphilindo. Tales about an inter-religious affair, presidential love letters, and a suicide note that started a rebellion, include strong elements of a collective colonial legacy. The last narrative is written by Tan Zi Hao, whose use of archival documents and Mao Zedong’s poems, projects a playful approach towards a serious subject matter. Tinkering with physical history gives ‘The Spectre of Qiu Nan’ a superior edge over the Filipino and Indonesian works, although the English-translated poems ultimately reveal the shackles of our colonial past. The freedom to view a fictionalised account at any time re-enacts the art gallery experience, in this case, multimedia representations of historical figures.

Screenshot from the 'Spectre of Soekarno' narrative, by Muhammad Al-Fayyadl

Zhou Enlai's cunning diplomacy during the Bandung conference is alluded to in "The Endless Present", whose "...move was not dealing with diversity, but deferring it in the name of common neutrality." Ding Ling's 'Scarlet Letter' about Women's Day remains progressive to this day, and this reference to the intellectual repression during the Maoist regime, coincides nicely with the recent award-winning Ann Hui film. After seeing metaphorical illustrations about the Hundred Flowers campaign, one can choose to apply for a “Spectral Citizenship”, and complete a survey which basic questions make one reflect on one's nationality. This digital gallery is highly enjoyable and leaves enough to one's imagination, and its sufficiently open-ended format serves as a great examples for how alternate histories are told.

MCP’s edition of Qiu Nan’s letter, reproduced with a new title "My Suicide" (我的自杀). [referred to in the 'Spectre of Qiu Nan’ narrative, by Tan Zi Hao]

鲲鹏展翅，九万里，翻动扶摇羊角。
背负青天朝下看，都是人间城郭。
炮火连天，弹痕遍地。吓倒蓬间雀。
怎么得了，哎呀我要飞跃。
借问君去何方？雀儿答道：有仙山琼阁。
不见前年秋月朗，订了三家条约。
还有吃的，土豆烧熟了，再加牛肉。
不须放屁，试看天地翻覆。

- 毛泽东, 《念奴娇•鸟儿问答》, 1965年秋

Drawings by Yuchen Chang [accompanied with poetry narrated in 'Let Hundred Flowers Bloom']

Snippets: Q3 2014

The City. Becoming and Decaying @ Galeri Petronas

Balam @ Wei-Ling Contemporary

Dulu Kini @ Curate

12 Years of Visual Disobedience @ Five Arts Centre

Art in the Park 2014 @ Perdana Botanical Gardens

Henry Butcher Malaysian & SEA Auction Preview @ Curate

Pulse: 2H 2014 Art Auctions

Unicolour Or Black | Katak Rasa YES, is Simple Pie

Phenomena @ Chin Thye Hin 振泰兴一号店

For the Imaginary Space: Selected Sculptures & Installations from the Pakhruddin & Fatimah Sulaiman Collection @ The Edge Galerie

In the Flesh @ Richard Koh Fine Art

Warisan Kertas 2014 @ Badan Warisan Malaysia

Revelation of Jalan Sultan @ Lostgens’

X - Experimental Life Drawing @ 無限發掘 FINDARS

The Pleasures of Odds and Ends – Landscapes, Figures and Still Lifes @ Feeka

Soya Cincau @ Core Design Gallery

Language of the Jungle @ Richard Koh Fine Art

Paint & Ink: Just Add Water @ Sasana Kijang

From Bandung to Berlin