Art KL-itique

Framing - be it a physical border or a contextualised concept, are inherent to any artwork as we perceive it. Bayu Utomo Radjikin's attempt to frame (in galling red & black) 13 young artists as the next generation , seems a little gratuitous considering that a number of them have exhibited at House of Matahati. The scarlet wall behind Seah Zelin's 'The Unknown Adventure' sets the tone, where very large works are displayed on a contrasting background. Associating a seminal artwork with size is perilous, notwithstanding the corresponding higher price tag. Painters Haslin Ismail and Fadilah Karim's large canvases draw familiar styles, as Chong Ai Lei continues to struggle  while depicting a vibrant outdoor scene, let down by the subject's lack of personality. Many of the participants stagnated after a promising start, hopefully because of a sophomoric slump and not due to being shrouded by the cloud of fame. Akhmal Asyraf - The Distance Between Us (2013...

Barring 'Apologies to J. Anu', the 14 photographs exhibited pose a familiar reminder of an unpleasant August memory. Garbed in a Malaysian schoolgirl pinafore, chi too dresses himself in a symbol of racial demarcation, an identity crafted by Yee I-Lann in her recent installation at "Kedai Commemorate". That project was among the secondary exhibits in the embarrassing M50 programme, which the artist theatrically comments on via kawaii or contemplative poses. Consistent with his absurd-yet-intelligent output, the photo captures memorialising " the only event that commemorated the 50th anniversary of the country which unfortunately failed miserably" reveal rudimentary questions. Subtlety, quality, public awareness, and ultimately censorship of the artworks shown then, bring to light an uneven curatorial approach and lack of leadership by the National Visual Arts Gallery. Apologies to Yee I-Lann (2013) In 'Apologies to Samsudin Wahab', a g...

Outstanding artworks absorb the viewer in "Bersama", a diplomatic exhibition that attempts to "explore the relationship between Malaysia and Indonesia". Beginning with portraiture as academic art, Hoessein Enas' works remain inferior when compared to his idol Basoeki Abdullah, whose sliver of blue injects vigour not seen in Hossein's rigid figures. Another Indonesian AD Pirous is recognised as a pioneer in melding abstraction with Koranic calligraphy, although such approach has been utilised by Syed Ahmad Jamal since a decade earlier, whose 'Chairil Anwar' is a fine example that pays homage to the famous poet. Nearby, vibrant lines and local colours overlap in the delightful 'Kaligrafi Pohon Hayat' by Siti Zainon Ismail. Her whimsical illustrations are shown together with performance artist Arahmaiani's sketches, whose paintings of analytical dimensions and words project a stunted narrative. Chang Fee Ming - Caressed by the Moon (200...

After the momentary highlight of appreciating modern Malaysian artists (permanent exhibition hopeful ), a stop over at the National Visual Arts Gallery rekindled the routine disappointment felt in previous visits. Artworks shortlisted for the Bakat Muda Sezaman (Young Contemporaries Award) 2013, display an alarming lack of originality, notably among established artists like Samsudin Wahab's frozen meat and Ali Bebit's talking lips. Sloppily made video art submissions bore within the first minute, the exception being Fuad Arif's atmospheric meditation of God's name, a relevant exhortation amidst the ongoing Allah controversy. Nonsensical constructs range from a giant shuttlecock to a football field, as artists struggle to impress in an intelligent or artful manner. Some exhibits transported sand into the gallery space to recall beach memories, a move as dull and uninspiring as an old cupboard displayed. BMS '13 hopeful: Yim Yen Sum - Where I Come From II (20...

Malaysian Spring and GE13 had come and gone, so has Zac Lee's blue tigers and the yellow cat, from his last solo exhibition a year ago. Attempts to stimulate political conscience, are now replaced by a personal and sarcastic commentary, about the sorry state of current affairs. Expressing Chinese idioms and figurative sayings in a literal manner, Zac employs other animals as his subject matter. Only one tiger returns to this show in 'Stripes of Arrogance' - stuffed, taxidermied, and outfitted with a saddle - alluding to a political stalwart already dead and resting on borrowed time. The blue seen previously also features in only one painting, forming the background of the title work, which stencilled words mark it as the weakest exhibit. A horse and a stag are assimilated in a pair of displays, humorously depicting the Qin dynasty tale about royal deception 赵高指鹿为马 ("To call a stag a horse: to deliberately mislead."). Threat of Threat (2013) As the mono...

Religious enlightenment is perhaps more easily attainable than an impractical professional certification. Photo captures of Ahmad Fuad Osman - Sidang Sunyi Para Siddartha (2012)

Galeri Petronas’ 20th anniversary coffee table book Convergence presents glossy photographs of its sizeable collection, supplemented with bland historical text with the occasional racist statement. Better content could have been included, such as summaries of major exhibitions at the gallery, like the J. Anu-curated “50 Ways to Live in Malaysia”, or printmaking feature “Go Block”. Ten times cheaper and much more informative is RogueArt’s second publication in the “Narratives in Malaysian Art” series, titiled  Reactions – New Critical Strategies . A great variety of texts describe the different approaches in Malaysian art, interspersed with wonderful insights regarding specific artworks. The editors’ hope for readers to appreciate the “situations that demand reaction, and call for a heightened sense of criticality”, is best typified in Mark Teh’s incisive essay ‘An-Other May 13’. Mad Anuar Ismail - Siri Meditasi (2003): No. 1 Pucuk Paku & No. 3 Bawang Sebokor Ismail Em...