Art KL-itique

Upon conclusion of the inaugural KL Biennale, the National Art Gallery proceeds to hosts several exhibitions, that collaborates with commercial galleries. Happening at the same time, questions abound about the selection process. What was the criteria for galleries invited to participate? How are costs shared, in the staging of an exhibition? What did Balai get out of this endeavour, apart from delegating its exhibition schedule to private companies? As outmoded as the notion is, the museum as institutional recognition is still a notion, worth considering while viewing these shows. From tiny works by international artists, to selling and non-selling thematic showcases, to a memorial/ clearance of sorts, each display is distinctly different. The following jottings are about each presentation, including one opportunistic display by Balai itself… Exhibition posters at the lobby of the National Art Gallery; Final opportunity to see 1Malaysia logos on art show posters? “Kuala Lum

How much Malaysian art created up till 9th May 2018, will be put aside/thrashed/repurposed by artists? Should all commercial galleries stage a "pre-GE14" show, for displaying works created before 9th May 2018? Where will the references to an oppressive regime stop, and to an uncertain future begin?  How many Birkin and cunning animal images will be purged, and how many frogs and AirAsia planes will be depicted? Will political party flags be the new rage? Who will self-censor, and who will censor? Will big noses and black eyes, replace clowns or a man of steal ? Can Balai finally have a decent website, and a transparent acquisitions committee?  How many histories, can be re-written? Installation snapshot of Hasnul Jamal Saidon - Kdek! Kdek! Ong! (1996) This momentous change in government, will shift one’s mindset from a reflex to oppose, to a moment’s pause, for one to assess and evaluate. This pause, short as it may be, will be the biggest chan