Art KL-itique

After buying a copy of Warisan Nusa years ago, I only browsed it. This exhibition reminded me to read it, and appreciate the great volume that it is. Ilse Noor was commissioned by Shell Malaysia in 1985, to make 24 etchings based on Malaysian buildings with heritage value. The book includes the artist’s jottings when visiting each of Malaysia’s 13 states, with a lyrical translation into Bahasa Melayu by Adibah Amin. Ilse’s road trip begins across the ocean, at a Bidayuh Longhouse and the Kuching courthouse, and ends at the ruins of Kota Datuk Purba and Makam Tok Pelam in one Terengganu cemetery. Her approach for this commission is stated in the book’s preface, “(m)y weapon is my pencil and the trail I leave behind will be of pictures and notes. Forward, towards East we rush.” Kg. Mongkos – Sarawak (1986) As a travelogue, Ilse’s running commentary informs the underlying emotions, that translates into her depictions. Ferried in a boat or a ride-sharing taxi, waking up to inde

With favourite review site LoveHKFilm (and inspiration for this web log) now on indefinite hiatus , I am tempted to follow the same path. Since strong curatorship is an inconsistent affair, group exhibitions mostly bore, as I hold onto the unrealistic expectation that solo exhibitions allow artist(s) to better present one’s expression and/or vision. In Kuala Lumpur, the opportunities are present. Less-visible but established artists such as Abdullah Jones, Fauzan Omar, and Ramlan Abdullah, present recent work in spacious galleries; Aspiring students and passionate amateurs continue to show at independent art spaces like HOM Art Trans, Minut Init Art Social (currently at risk of closing! #saveminutini t), and RAW Art Space. The latter occupies the location formerly run by Findars 無限發掘, while Moutou 無頭體tend to the rooftop garden at 8 Jalan Panggong. Installation snapshot of Liew Kwai Fei – divide and rule/ Bekerjasama (2017); Exhibited at “Collective: Individuals” @ 2 Hang Kasturi