“Of course there is inside, otherwise there wouldn't be outside. You are inside, now come out!”, reads the hilarious first line of the exhibition brief. Greeting the visitor is Ayesha Keshani’s presentation, the collection of photographs, dying plants, and paraphernalia obscure but attractive. It also foreshadows the artist’s intent to highlight historical examples, of humans imposing power via the systematic obliteration of nature. A grainy video of animals being hunted is partially shrouded in foliage, leading to four-word slogans that point to the misconception of ecology-friendly plantations, and a Maoist farce that resulted in many lost lives.
 |
| Installation snapshot |
Goh Lee Kwang’s ‘photocopying recording’ is nestled within a gunnysack tent, its double projection of ambient sound a secondary concern when one lies down on a concrete floor with straw mat. Potted greenery and makeshift platforms impress colour and cosiness into the Spartan space, a contrast to the monochrome pictures and sans serif wall texts. The simple arrangement allows a pleasant walkabout, although the bite-sized information provided only incites an impulsive political response. Of course there are animals, otherwise there wouldn’t be humans. You are an animal, now be a human!
 |
| Installation and snapshots from 'What is The Animal?' booklet |
"When the cocks were all dead, the people wanted some other sport, so they brought a man who could stay under water for a long time, and DogDog made him compete with the alligator. But after a while the man had to come up first. Then they brought a swift runner and he raced with the deer, but the man was left far behind. Next they looked around until they found a very large man who was willing to contend with the mound of earth, but after a hard struggle the man was thrown. Finally they brought a man who could climb higher than anyone else, but the monkey went far above him, and he had to give up."
- Radical 94, Vol. 1, Bukit Binatang, anecdote #19
 |
| Installation snapshot |