Art KL-itique

Dominating an exhibition space is one thrilling aspect when appreciating Chong Kim Chiew’s work, and his latest solo show does not disappoint. Visitors are greeted immediately by small bits of litter on the floor, that one may perceive mistakenly as faeces from the gallery owner’s pets. Upon closer inspection, each ‘Pupuk Kandang’ piece constitutes a dismembered finger fused with a piece of dung. Are these sculptures condemning keyboard warriors, and the amplification of fake news on social media? More likely, it is a satirical take on artworks infused with double-bind meanings and interpretations, that grab attention via a violent representation. The work is attributed to a Zaskia Roesli; Are we looking at a stereotypical creation by an Indonesian artist? Installation snapshot of Zaskia Roesli - Pupuk Kandang (2018) The installation-exhibition statement presents the artist’s intent, where as “more international curators cast their attention on the region, presenting its cu...

With works created across 35 years on display, Sutra Gallery presents a retrospective of sorts for Renee Kraal, a former member of the famed Wednesday Art Group. A number of pieces capture my attention on the first walkthrough, only for me to realize that these works were all made in the early 1980s. Prominent figurative outlines and a palette of complementary colours depict visual idioms, a rather simple painting approach that effectively conveys the artist’s sentiments. From the shadows in ‘City Hall, Where Were You?’ and ‘Forest Devas’, to legs tiptoeing on eggshells, an expression of yearning for justice is apparent. In ‘Prejudice and Discrimination’, a bulky & bruising male body spreads his arms wide, effectively blocking out the face of one female body. His line of sight takes the form of a black horizon; how many female artists have Malaysian art historians left out in its canonizing efforts? Prejudice and Discrimination (1982)