#: locale=en
## Action
### PDF
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### URL
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## Media
### Audio
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### Image
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### Popup Image
### Title
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htmlText_0BB209EC_4BCA_1DCB_4155_0EF928BBAC16.html = AHMAD FUAD OSMAN
b.1969, Kedah
Experiments in Truth
Performance at Blue Skies, organised by labDNA
1997
Artist’s Collection
As part of the collective labDNA, Nani Kahar and Yee I-Lann signalled a new direction for artists to explore alternative spaces in the city for the urban youth.
In October 1997, labDNA hosted an event at the soon-to-be-demolished colonial Pudu Prison, titled Blue Skies. Collaborators were invited to occupy individual cells and participants were drawn from a diverse creative community, including filmmakers, musicians, performers, activists, and architects. As part of the event, artist Ahmad Fuad Osman gave a performance entitled Experiments in Truth, where he is seen bare-chested, being escorted through a prison courtyard and into a cell by masked law enforcers. The dark cell is lit by candles placed on a cloth laid horizontally, which bears a poem in Malay written in black ink about the experience of dispossession. Next to the candles on the cloth are two gavels, likely symbolising the judicial system that sanctioned his imprisonment. As the video progresses, techno music begins to seep into the cell, and the camera shifts to capture the audience in attendance, one of whom is seen dancing to the beat of the music.
Other participants in the event included activist Hishamuddin Rais, who spoke about his political incarcerations in various prisons, while musician Joe Kidd used his space to inform youths about their legal rights during detention. Some established figures in the art scene criticised the event as a frivolous use of historically significant spaces, but labDNA defended it, viewing play as a powerful means of engaging with contested spaces and exploring complex subjects and histories.
Sebagai artis kolektif labDNA, Nani Kahar dan Yee I-Lann memberi isyarat hala tuju baharu kepada artis untuk meneroka ruang alternatif di bandar untuk kaum belia di bandar.
Pada bulan Oktober 1997, labDNA menganjurkan acara bertajuk Blue Skies di Penjara Pudu, sebuah binaan daripada zaman penjajahan British, yang menunggu dirobohkan. Peserta yang dijemput menduduki sel individu diambil daripada kalangan komuniti kreatif yang pelbagai, termasuk pembuat filem, pemuzik, penghibur, aktivis dan arkitek. Sebagai sebahagian daripada acara, artis Ahmad Fuad Osman memberi persembahan bertajuk Experiments in Truth, di mana tanpa berbaju beliau dilihat mlalui halaman penjara dan masuk ke dalam sel oleh penguatkuasa undang-undang yang bertopeng. Sel penjara yang gelap dinyalakan dengan api lilin yang terletak di atas kain terhampar melintang, di mana sebuah puisi dalam bahasa Melayu ditulis dengan dakwat hitam tentang pengalaman perampasan. Berdampingan lilin atas kain terdapat dua buah palu, mungkin melambangkan sistem kehakiman yang menjatuhkan hukuman penjara. Semasa video berlangsung, muzik techno mula meresap ke dalam sel penjara, dan kamera beralih untuk menangkap penonton yang hadir, salah seorang mereka dilihat menari mengikut rentak muzik.
Peserta lain dalam acara itu termasuk aktivis Hishamuddin Rais, yang berbicara tentang pemenjaraan politiknya di pelbagai penjara, manakala pemuzik Joe Kidd menggunakan ruangnya untuk memaklumkan golongan muda tentang hak undang-undang mereka semasa tahanan. Beberapa tokoh terkenal dalam persada seni mengkritik acara itu sebagai suatu penggunaan ruang bersejarah yang sembrono, tetapi labDNA mempertahankannya, melihat permainan sebagai cara yang ampuh untuk melibatkan diri dengan ruang yang dipertikaikan dan meneroka subjek dan sejarah yang kompleks.
AZIZAN PAIMAN
b. 1970, Melaka
Ais Kirim Malaysia
1999
Single-channel video
1 hr 36 min 30 sec
Artist’s Collection
Ais Kirim Malaysia is a performance work by Paiman in which the artist, dressed in an apron resembling the colours of the Malaysian flag, distributes ice creams from a pushcart. The pushcart bears the phrase Ais Kirim Malaysia written in Japanese Katakana characters. The performance was first conceived during an Art Exchange Programme as part of the 1st Fukuoka Asian Art Triennial, organised by the Fukuoka Asian Art Museum in 1999. During the performance, Paiman hands out ice creams to the public, using sales and negotiation tactics while shouting “Ais Kirim Malaysia.” For Paiman, Ais Kirim is a playful wordplay on the Malay word kirim (to send), using the ice cream as a metaphor for the commodification of culture through art. Through this work, he humorously highlights how contemporary artists’ integrity can be compromised when catering to the demands of global cultural institutions as well as the demands of the commercial art market.
Ais Kirim Malaysia ialah sebuah karya persembahan oleh Paiman di mana si artis sendiri memakai apron menyerupai warna bendera Malaysia, mengedarkan ais krim dari sebuah kereta tolak yang memapar rangkaian kata Ais Kirim Malaysia yang ditulis dalam aksara Katakana Jepun. Persembahan itu mula-mula diilhamkan semasa Program Pertukaran Seni sebagai sebahagian daripada Triennial Seni Asia Fukuoka pertama, anjuran Muzium Seni Asia Fukuoka pada tahun 1999. Semasa persembahan, Paiman mengedar aiskrim kepada orang ramai, menggunakan taktik jualan dan rundingan sambil melaung “Ais Kirim Malaysia!” Bagi Paiman, Ais Kirim ialah permainan kata- kata dalam perkataan Melayu kirim (hantar), menggunakan aiskrim sebagai kiasan untuk komodifikasi budaya melalui seni. Melalui karya ini, beliau secara jenaka menonjolkan bagaimana integriti artis kontemporari boleh dikompromi apabila memenuhi permintaan institusi budaya global serta permintaan pasaran seni komersial.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Lang Ngindang
1991
Mixed media
115 cm × 61 cm × 120 cm
Collection of Rahime Harun
Lang Ngindang is one of a series of sculptures by Bayu Utomo Radjikin which was inspired by a university trip to the interiors of Sarawak. The other sculptures in the series which include Bujang Berani which won the Young Contemporaries Award in 1991, and Lang Kacang, also evoke the image of an Orang Ulu warrior.
The facial expression of the armless warrior screaming into the void — the sense of angst, despair, and rage — is almost visceral. With a torso made of industrial material — metal, chains, cement — the work speaks to the anguish felt by those powerless against capitalist forces, globalisation, and the machinations of the state.
Lang Ngindang entered the world of popular culture when the sculpture appeared in a scene in Aziz M Osman’s film Femina in 1994, while the image of Lang Kacang was used on the album cover of Rampage by the Malaysian rock band Search in 1992. Perhaps that sense of alienation and impotent rage resonated with the band, bearing in mind that a 1990 national ban on long-haired rockers led to their music being banned on television and radio channels. While Search and fellow rock band Wings resisted initially, economic pressures led them to ultimately succumb. On 1 November 1992, Search lead singer Amy (Suhaimi Abdul Rahman) and Wings lead singer Awie (Ahmad Azhar Othman) agreed to have their hair cut live on national TV by Tan Sri Mohamed Rahmat, who was the Minister of Information at the time.
Lang Ngindang adalah salah sebuah arca dalam siri oleh Bayu Utomo Radjikin yang diilhamkan daripada lawatan universiti ke kawasan pedalaman Sarawak. Arca lain dalam siri itu termasuk Bujang Berani yang memenangi Anugerah Bakat Muda Sezaman pada 1991, dan Lang Kacang, turut membangkit imej pahlawan Orang Ulu.
Raut muka pahlawan dengan tubuhnya yang tidak berlengan itu menjerit dalam keheningan — rasa gelisah, putus asa dan geram — meluap-luap. Dengan batang tubuh yang diperbuat daripada bahan industri — logam, rantai, simen — karya itu menggambarkan kesedihan yang dirasai oleh mereka yang tidak berdaya melawan kuasa kapitalis, globalisasi, dan muslihat kerajaan.
Lang Ngindang memasuki alam budaya popular apabila arca itu muncul dalam adegan dalam filem Femina arahan Aziz M Osman pada tahun 1994 manakala imej Lang Kacang digunakan pada kulit album Rampage oleh kumpulan rock Malaysia Search pada tahun 1992. Mungkin rasa keterasingan dan kemarahan hilang daya bergema dengan kumpulan itu, memandangkan larangan kerajaan pada tahun 1990 terhadap rocker berambut panjang menyebabkan muzik mereka diharamkan di saluran televisyen dan radio. Walaupun Search dan kumpulan Wings menentang pada mulanya, tekanan ekonomi menyebabkan mereka akhirnya tunduk. Pada 1 November 1992, penyanyi utama Search, Amy (Suhaimi Abdul Rahman) dan penyanyi utama Wings, Awie (Ahmad Azhar Othman) bersetuju untuk rambut mereka dipotong secara langsung di TV nasional oleh Tan Sri Mohamed Rahmat, Menteri Penerangan ketika itu.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Warbox
1994
Installation
262 cm × 365 cm × 332 cm
Artist’s Collection
Bayu Utomo Radjikin is one of the founder members of the MATAHATI Art Group, an important and influential artist collective formed in 1989. His Warbox installation is a powerful representation of the plight and suffering of those in war-torn countries and regions in the world. The work comprises unvarnished plywood constructed into a large, lockless box, with stencilled words such as ‘kasihan,’ (‘pity’), ‘lesu’ (‘exhaustion’), and ‘sakit’ ('pain’), inviting viewers to contemplate the harsh realities of war within the box. Presented at the Warbox, Lalang, Killing Tools exhibition, Warbox is deliberately designed to evoke feelings of confinement, claustrophobia, and introspection as viewers engage with the stencilled text within its interiors. Bayu’s art practice during the 1990s was influenced by the terrible impact of war on innocent victims, particularly women and children, in global conflicts such as the Gulf and Bosnian wars.
Bayu Utomo Radjikin, seorang ahli pengasas Kumpulan Seni Matahati, sebuah kumpulan artis penting dan berpengaruh yang ditubuhkan pada tahun 1989, telah menghasilkan sebuah karya instalasi hebat bertajuk Warbox, tentang nasib dan penderitaan yang dialami di negara dan wilayah yang dilanda peperangan. Karya berbentuk peti papan lapis besar tanpa varnis atau kunci, dengan kata-kata stensil seperti ‘kesian’, ‘keletihan’ dan ‘sakit,’ mengajak penonton merenung realiti perang yang pahit di dalam kotak itu. Dipersembahkan di pameran Warbox, Lalang, Killing Tools, Warbox sengaja direka untuk membangkitkan perasaan terkurung, klaustrofobia dan introspeksi apabila penonton mengamati teks yang distensil pada bahagian dalamannya. Amalan seni Bayu pada tahun 1990an dipengaruhi kesan perang yang dahsyat dialami mangsa yang tidak bersalah, khususnya wanita dan kanak-kanak, dalam konflik global seperti perang di rantau Teluk Parsi dan Bosnia.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Warbox
1994
Installation
262 cm × 365 cm × 332 cm
Artist’s Collection
Bayu Utomo Radjikin is one of the founder members of the MATAHATI Art Group, an important and influential artist collective formed in 1989. His Warbox installation is a powerful representation of the plight and suffering of those in war-torn countries and regions in the world. The work comprises unvarnished plywood constructed into a large, lockless box, with stencilled words such as ‘kasihan,’ (‘pity’), ‘lesu’ (‘exhaustion’), and ‘sakit’ ('pain’), inviting viewers to contemplate the harsh realities of war within the box. Presented at the Warbox, Lalang, Killing Tools exhibition, Warbox is deliberately designed to evoke feelings of confinement, claustrophobia, and introspection as viewers engage with the stencilled text within its interiors. Bayu’s art practice during the 1990s was influenced by the terrible impact of war on innocent victims, particularly women and children, in global conflicts such as the Gulf and Bosnian wars.
Bayu Utomo Radjikin, seorang ahli pengasas Kumpulan Seni Matahati, sebuah kumpulan artis penting dan berpengaruh yang ditubuhkan pada tahun 1989, telah menghasilkan sebuah karya instalasi hebat bertajuk Warbox, tentang nasib dan penderitaan yang dialami di negara dan wilayah yang dilanda peperangan. Karya berbentuk peti papan lapis besar tanpa varnis atau kunci, dengan kata-kata stensil seperti ‘kesian’, ‘keletihan’ dan ‘sakit,’ mengajak penonton merenung realiti perang yang pahit di dalam kotak itu. Dipersembahkan di pameran Warbox, Lalang, Killing Tools, Warbox sengaja direka untuk membangkitkan perasaan terkurung, klaustrofobia dan introspeksi apabila penonton mengamati teks yang distensil pada bahagian dalamannya. Amalan seni Bayu pada tahun 1990an dipengaruhi kesan perang yang dahsyat dialami mangsa yang tidak bersalah, khususnya wanita dan kanak-kanak, dalam konflik global seperti perang di rantau Teluk Parsi dan Bosnia.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Warbox
1994
Installation
262 cm × 365 cm × 332 cm
Artist’s Collection
Bayu Utomo Radjikin is one of the founder members of the MATAHATI Art Group, an important and influential artist collective formed in 1989. His Warbox installation is a powerful representation of the plight and suffering of those in war-torn countries and regions in the world. The work comprises unvarnished plywood constructed into a large, lockless box, with stencilled words such as ‘kasihan,’ (‘pity’), ‘lesu’ (‘exhaustion’), and ‘sakit’ ('pain’), inviting viewers to contemplate the harsh realities of war within the box. Presented at the Warbox, Lalang, Killing Tools exhibition, Warbox is deliberately designed to evoke feelings of confinement, claustrophobia, and introspection as viewers engage with the stencilled text within its interiors. Bayu’s art practice during the 1990s was influenced by the terrible impact of war on innocent victims, particularly women and children, in global conflicts such as the Gulf and Bosnian wars.
Bayu Utomo Radjikin, seorang ahli pengasas Kumpulan Seni Matahati, sebuah kumpulan artis penting dan berpengaruh yang ditubuhkan pada tahun 1989, telah menghasilkan sebuah karya instalasi hebat bertajuk Warbox, tentang nasib dan penderitaan yang dialami di negara dan wilayah yang dilanda peperangan. Karya berbentuk peti papan lapis besar tanpa varnis atau kunci, dengan kata-kata stensil seperti ‘kesian’, ‘keletihan’ dan ‘sakit,’ mengajak penonton merenung realiti perang yang pahit di dalam kotak itu. Dipersembahkan di pameran Warbox, Lalang, Killing Tools, Warbox sengaja direka untuk membangkitkan perasaan terkurung, klaustrofobia dan introspeksi apabila penonton mengamati teks yang distensil pada bahagian dalamannya. Amalan seni Bayu pada tahun 1990an dipengaruhi kesan perang yang dahsyat dialami mangsa yang tidak bersalah, khususnya wanita dan kanak-kanak, dalam konflik global seperti perang di rantau Teluk Parsi dan Bosnia.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Warbox
1994
Installation
262 cm × 365 cm × 332 cm
Artist’s Collection
Bayu Utomo Radjikin is one of the founder members of the MATAHATI Art Group, an important and influential artist collective formed in 1989. His Warbox installation is a powerful representation of the plight and suffering of those in war-torn countries and regions in the world. The work comprises unvarnished plywood constructed into a large, lockless box, with stencilled words such as ‘kasihan,’ (‘pity’), ‘lesu’ (‘exhaustion’), and ‘sakit’ ('pain’), inviting viewers to contemplate the harsh realities of war within the box. Presented at the Warbox, Lalang, Killing Tools exhibition, Warbox is deliberately designed to evoke feelings of confinement, claustrophobia, and introspection as viewers engage with the stencilled text within its interiors. Bayu’s art practice during the 1990s was influenced by the terrible impact of war on innocent victims, particularly women and children, in global conflicts such as the Gulf and Bosnian wars.
Bayu Utomo Radjikin, seorang ahli pengasas Kumpulan Seni Matahati, sebuah kumpulan artis penting dan berpengaruh yang ditubuhkan pada tahun 1989, telah menghasilkan sebuah karya instalasi hebat bertajuk Warbox, tentang nasib dan penderitaan yang dialami di negara dan wilayah yang dilanda peperangan. Karya berbentuk peti papan lapis besar tanpa varnis atau kunci, dengan kata-kata stensil seperti ‘kesian’, ‘keletihan’ dan ‘sakit,’ mengajak penonton merenung realiti perang yang pahit di dalam kotak itu. Dipersembahkan di pameran Warbox, Lalang, Killing Tools, Warbox sengaja direka untuk membangkitkan perasaan terkurung, klaustrofobia dan introspeksi apabila penonton mengamati teks yang distensil pada bahagian dalamannya. Amalan seni Bayu pada tahun 1990an dipengaruhi kesan perang yang dahsyat dialami mangsa yang tidak bersalah, khususnya wanita dan kanak-kanak, dalam konflik global seperti perang di rantau Teluk Parsi dan Bosnia.
BAYU UTOMO RADJIKIN
b. 1969, Sabah
Warbox
1994
Installation
262 cm × 365 cm × 332 cm
Artist’s Collection
Bayu Utomo Radjikin is one of the founder members of the MATAHATI Art Group, an important and influential artist collective formed in 1989. His Warbox installation is a powerful representation of the plight and suffering of those in war-torn countries and regions in the world. The work comprises unvarnished plywood constructed into a large, lockless box, with stencilled words such as ‘kasihan,’ (‘pity’), ‘lesu’ (‘exhaustion’), and ‘sakit’ ('pain’), inviting viewers to contemplate the harsh realities of war within the box. Presented at the Warbox, Lalang, Killing Tools exhibition, Warbox is deliberately designed to evoke feelings of confinement, claustrophobia, and introspection as viewers engage with the stencilled text within its interiors. Bayu’s art practice during the 1990s was influenced by the terrible impact of war on innocent victims, particularly women and children, in global conflicts such as the Gulf and Bosnian wars.
Bayu Utomo Radjikin, seorang ahli pengasas Kumpulan Seni Matahati, sebuah kumpulan artis penting dan berpengaruh yang ditubuhkan pada tahun 1989, telah menghasilkan sebuah karya instalasi hebat bertajuk Warbox, tentang nasib dan penderitaan yang dialami di negara dan wilayah yang dilanda peperangan. Karya berbentuk peti papan lapis besar tanpa varnis atau kunci, dengan kata-kata stensil seperti ‘kesian’, ‘keletihan’ dan ‘sakit,’ mengajak penonton merenung realiti perang yang pahit di dalam kotak itu. Dipersembahkan di pameran Warbox, Lalang, Killing Tools, Warbox sengaja direka untuk membangkitkan perasaan terkurung, klaustrofobia dan introspeksi apabila penonton mengamati teks yang distensil pada bahagian dalamannya. Amalan seni Bayu pada tahun 1990an dipengaruhi kesan perang yang dahsyat dialami mangsa yang tidak bersalah, khususnya wanita dan kanak-kanak, dalam konflik global seperti perang di rantau Teluk Parsi dan Bosnia.
CHUAH CHONG YONG
b.1972, Perak
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest... phase 7
1999/2024
Thermal papers on wooden frames, metal rod, mirror acrylic, luggages and bags
Dimensions variable
Artist’s Collection
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest... consists of a group of ‘construction pillars’ with images of neo-classical pre-war buildings.These images are printed on facsimile paper which was found in every office in the 1990s before internet-based technologies rendered it obsolete. This work which won the Young Contemporaries Award in 1999 explores the artist’s preoccupation with the changing urban landscape during the booming economy of the 1990s, specifically the construction of towering skyscrapers that now dominate K.L.’s cityscape that have led to the demolition of many of our heritage buildings in the city. Like the fading images on the facsimile paper, these social and historical landmarks which served as a link to our built heritage have been slowly erased, forever changing our relationship with the urban landscape.
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest..., terdiri daripada sekumpulan ‘tiang pembinaan’ dengan imej bangunan neo-klasik sebelum perang. Imej-imej ini dicetak pada kertas faksimili yang melengkapi setiap pejabat pada tahun 1990-an sebelum teknologi internet menjadikannya usang. Karya ini yang memenangi Anugerah Bakat Muda Sezaman tahun 1999, memaparkan minat si artis dengan perubahan landskap bandar semasa ekonomi berkembang pesat pada tahun 1990-an, khususnya bagaimana pembinaan bangunan pencakar langit yang kini menguasai landskap bandar K.L., telah membawa kepada perobohan berbagai bangunan warisan kita di bandar. Seperti imej pudar pada kertas faksimili, mercu tanda masyarakat bersejarah yang menghubung kita dengan warisan binaan kita telah dipadam secara perlahan, sambil mengubah hubungan kita dengan landskap bandar selama-lamanya.
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CHUAH CHONG YONG
b.1972, Perak
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest... phase 7
1999/2024
Thermal papers on wooden frames, metal rod, mirror acrylic, luggages and bags
Dimensions variable
Artist’s Collection
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest... consists of a group of ‘construction pillars’ with images of neo-classical pre-war buildings.These images are printed on facsimile paper which was found in every office in the 1990s before internet-based technologies rendered it obsolete. This work which won the Young Contemporaries Award in 1999 explores the artist’s preoccupation with the changing urban landscape during the booming economy of the 1990s, specifically the construction of towering skyscrapers that now dominate K.L.’s cityscape that have led to the demolition of many of our heritage buildings in the city. Like the fading images on the facsimile paper, these social and historical landmarks which served as a link to our built heritage have been slowly erased, forever changing our relationship with the urban landscape.
Pre-War Building for Sale: Welcome to the Era of the Biggest, the Highest and the Longest..., terdiri daripada sekumpulan ‘tiang pembinaan’ dengan imej bangunan neo-klasik sebelum perang. Imej-imej ini dicetak pada kertas faksimili yang melengkapi setiap pejabat pada tahun 1990-an sebelum teknologi internet menjadikannya usang. Karya ini yang memenangi Anugerah Bakat Muda Sezaman tahun 1999, memaparkan minat si artis dengan perubahan landskap bandar semasa ekonomi berkembang pesat pada tahun 1990-an, khususnya bagaimana pembinaan bangunan pencakar langit yang kini menguasai landskap bandar K.L., telah membawa kepada perobohan berbagai bangunan warisan kita di bandar. Seperti imej pudar pada kertas faksimili, mercu tanda masyarakat bersejarah yang menghubung kita dengan warisan binaan kita telah dipadam secara perlahan, sambil mengubah hubungan kita dengan landskap bandar selama-lamanya.
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Carburetor Dung
Founded 1991, Kuala Lumpur
The respective worlds of punk music and visual arts collided when popular punk band Carburetor Dung opened the Warbox, Lalang, Killing Tools exhibition at the National Art Gallery in 1994. Originally known as Stormfish, the band changed its name to Carburetor Dung when Joe Kidd joined the band in early 1992. The band name was taken from a book by Lester Bangs, an American music critic who championed a lot of the early punk rock bands of the 60s and 70s. The band members were Lan Bear, Fendi, Shahlan, Shahfari, and Joe Kidd. Carburetor Dung recorded their first song You’re a Problem in 1993 and their first album Songs for Friends was released later that year. The songs from the album were about the day-to-day life of local youths — from relationships to political awareness.
The materials exhibited in this section are not limited to the discography of Carburetor Dung but also includes material which embodies the anti-consumerist attitude and D-I-Y ethic manifested by Joe Kidd as the maker of Aedes (Malaysia’s first punk zine), gig organiser, driving force behind Sonic Asylum Records, graphic designer, weekly columnist for Blasting Concept, backbone of the first year of the ‘Alternatif’ TV show, founder of The Ricecooker Shop (2007–2014), and archivist (The Ricecooker Archives), among others. The album Songs For Friends (1993) and the compilation A Circle of Friends (1993) are reflective of the sentiments of the young people who hung out at Central Market in K.L. during that era, using music as a medium for self-expression. It was also a space where thoughts, creativity, and actions were manifested through various mediums (writing and design) in celebration of freedom and defiance. As Joe Kidd put it, “Punk sokmo.”
Pertembungan antara dunia muzik punk dan seni terjadi setelah kumpulan muzik punk, Carburetor Dung, membuka pameran Warbox, Lalang, Killing Tools di Balai Seni Lukis Negara pada tahun 1994. Pada asalnya, kumpulan muzik ini dikenali sebagai Stormfish. Namun, setelah Joe Kidd menyertai mereka pada awal tahun 1992, nama tersebut ditukar kepada Carburetor Dung. Nama tersebut diambil daripada buku tulisan Lester Bangs, seorang pengkritik muzik Amerika yang banyak menulis tentang kumpulan muzik punk rock era 60-an dan 70-an. Kumpulan ini terdiri daripada Lan Bear, Fendi, Shahlan, Shahfari, dan Joe Kidd. Pada tahun 1993, Carburetor Dung merakamkan lagu pertama mereka, You’re a Problem, dan album debut mereka, Songs for Friends. Lagu-lagu dalam album ini mengisahkan tentang kehidupan anak muda tempatan, hubungan peribadi, sehinggalah kepada kesedaran politik mereka.
Selain daripada diskografi, pameran ini turut menampilkan karya-karya yang memaparkan sikap anti-konsumerisme dan semangat “buat sendiri” (DIY) Carburator Dung. Hal ini tampak jelas pada sosok Joe Kidd. Dia merupakan orang pertama yang menerbitkan, Aedes, sebuah zine punk yang pertama di Malaysia. Joe juga merupakan seorang penganjur gig, orang penting dalam Sonic Asylum Records, pereka grafik, penulis kolum Blasting Concept, tulang belakang rancangan TV
“Alternatif,” pengasas The Ricecooker Shop (2007– 2014), dan aktivis The Ricecooker Archives. Pendek kata, Joe Kidd memainkan peranan yang penting dalam membangunkan komuniti punk tempatan. Album Songs for Friends (1993) dan A Circle of Friends (1993) berbicara tentang semangat anak muda yang pada zaman itu sering berkumpul di Pasar Seni KL dan bermain muzik untuk meluahkan perasaan mereka. Di tempat itu jugalah pelbagai idea dan kreativiti bercambah melalui tulisan dan seni atas semangat kebebasan dan pemberontakan. Seperti kata Joe Kidd, “Punk sokmo.”
Carburetor Dung
Founded 1991, Kuala Lumpur
The respective worlds of punk music and visual arts collided when popular punk band Carburetor Dung opened the Warbox, Lalang, Killing Tools exhibition at the National Art Gallery in 1994. Originally known as Stormfish, the band changed its name to Carburetor Dung when Joe Kidd joined the band in early 1992. The band name was taken from a book by Lester Bangs, an American music critic who championed a lot of the early punk rock bands of the 60s and 70s. The band members were Lan Bear, Fendi, Shahlan, Shahfari, and Joe Kidd. Carburetor Dung recorded their first song You’re a Problem in 1993 and their first album Songs for Friends was released later that year. The songs from the album were about the day-to-day life of local youths — from relationships to political awareness.
The materials exhibited in this section are not limited to the discography of Carburetor Dung but also includes material which embodies the anti-consumerist attitude and D-I-Y ethic manifested by Joe Kidd as the maker of Aedes (Malaysia’s first punk zine), gig organiser, driving force behind Sonic Asylum Records, graphic designer, weekly columnist for Blasting Concept, backbone of the first year of the ‘Alternatif’ TV show, founder of The Ricecooker Shop (2007–2014), and archivist (The Ricecooker Archives), among others. The album Songs For Friends (1993) and the compilation A Circle of Friends (1993) are reflective of the sentiments of the young people who hung out at Central Market in K.L. during that era, using music as a medium for self-expression. It was also a space where thoughts, creativity, and actions were manifested through various mediums (writing and design) in celebration of freedom and defiance. As Joe Kidd put it, “Punk sokmo.”
Pertembungan antara dunia muzik punk dan seni terjadi setelah kumpulan muzik punk, Carburetor Dung, membuka pameran Warbox, Lalang, Killing Tools di Balai Seni Lukis Negara pada tahun 1994. Pada asalnya, kumpulan muzik ini dikenali sebagai Stormfish. Namun, setelah Joe Kidd menyertai mereka pada awal tahun 1992, nama tersebut ditukar kepada Carburetor Dung. Nama tersebut diambil daripada buku tulisan Lester Bangs, seorang pengkritik muzik Amerika yang banyak menulis tentang kumpulan muzik punk rock era 60-an dan 70-an. Kumpulan ini terdiri daripada Lan Bear, Fendi, Shahlan, Shahfari, dan Joe Kidd. Pada tahun 1993, Carburetor Dung merakamkan lagu pertama mereka, You’re a Problem, dan album debut mereka, Songs for Friends. Lagu-lagu dalam album ini mengisahkan tentang kehidupan anak muda tempatan, hubungan peribadi, sehinggalah kepada kesedaran politik mereka.
Selain daripada diskografi, pameran ini turut menampilkan karya-karya yang memaparkan sikap anti-konsumerisme dan semangat “buat sendiri” (DIY) Carburator Dung. Hal ini tampak jelas pada sosok Joe Kidd. Dia merupakan orang pertama yang menerbitkan, Aedes, sebuah zine punk yang pertama di Malaysia. Joe juga merupakan seorang penganjur gig, orang penting dalam Sonic Asylum Records, pereka grafik, penulis kolum Blasting Concept, tulang belakang rancangan TV
“Alternatif,” pengasas The Ricecooker Shop (2007– 2014), dan aktivis The Ricecooker Archives. Pendek kata, Joe Kidd memainkan peranan yang penting dalam membangunkan komuniti punk tempatan. Album Songs for Friends (1993) dan A Circle of Friends (1993) berbicara tentang semangat anak muda yang pada zaman itu sering berkumpul di Pasar Seni KL dan bermain muzik untuk meluahkan perasaan mereka. Di tempat itu jugalah pelbagai idea dan kreativiti bercambah melalui tulisan dan seni atas semangat kebebasan dan pemberontakan. Seperti kata Joe Kidd, “Punk sokmo.”
HATTA AZAD KHAN
b.1952, Terengganu
Mat Som
1990
Single-channel video
1hr 36 min
Collection of Hatta Azad Khan
This film Mat Som is an adaptation of Lat’s graphic novel of the same title, published in 1989. The close time frame of the adaptation has meant that the film is faithful to the novel. Set in Kuala Lumpur as it enters the 1990s, the character Mat Som played by Imuda is seen dealing with the usual issues faced by young people migrating to the city from rural areas. Securing a stable job becomes an economic challenge, while the issue of marriage places a psychological burden on him, due to parental pressure. Mat Som is ultimately a story about self-discovery as the main character navigates his way through the big city. The film was shot in Kuala Lumpur in 1990 in various locations in the city, including Stadium Negara and Chow Kit.
Mat Som merupakan sebuah filem saduran daripada novel grafik Lat yang diterbitkan pada tahun 1989. Filem saduran yang dihasilkan tidak lama selepas penerbitan novel grafik tersebut menunjukkan bahawa ia setia kepada cerita asal. Filem tersebut mengisahkan tentang Mat Som, lakonan Imuda, seorang anak muda kampung yang berhadapan dengan cabaran hidup kota Kuala Lumpur pada awal 1990-an. Mat Som bukan hanya berhadapan dengan masalah kewangan, tetapi juga ditekan oleh ibu bapanya kerana masih membujang. Mat Som mengisahkan tentang seorang anak muda yang mencari-cari identiti diri dan hala tuju di tengah-tengah hiruk-pikuk kota besar. Filem ini dirakam di beberapa buah tempat penting di sekitar Kuala Lumpur, seperti Stadium Negara dan Chow Kit, pada tahun 1990.
HATTA AZAD KHAN
b.1952, Terengganu
Mat Som
1990
Single-channel video
1hr 36 min
Collection of Hatta Azad Khan
This film Mat Som is an adaptation of Lat’s graphic novel of the same title, published in 1989. The close time frame of the adaptation has meant that the film is faithful to the novel. Set in Kuala Lumpur as it enters the 1990s, the character Mat Som played by Imuda is seen dealing with the usual issues faced by young people migrating to the city from rural areas. Securing a stable job becomes an economic challenge, while the issue of marriage places a psychological burden on him, due to parental pressure. Mat Som is ultimately a story about self-discovery as the main character navigates his way through the big city. The film was shot in Kuala Lumpur in 1990 in various locations in the city, including Stadium Negara and Chow Kit.
Mat Som merupakan sebuah filem saduran daripada novel grafik Lat yang diterbitkan pada tahun 1989. Filem saduran yang dihasilkan tidak lama selepas penerbitan novel grafik tersebut menunjukkan bahawa ia setia kepada cerita asal. Filem tersebut mengisahkan tentang Mat Som, lakonan Imuda, seorang anak muda kampung yang berhadapan dengan cabaran hidup kota Kuala Lumpur pada awal 1990-an. Mat Som bukan hanya berhadapan dengan masalah kewangan, tetapi juga ditekan oleh ibu bapanya kerana masih membujang. Mat Som mengisahkan tentang seorang anak muda yang mencari-cari identiti diri dan hala tuju di tengah-tengah hiruk-pikuk kota besar. Filem ini dirakam di beberapa buah tempat penting di sekitar Kuala Lumpur, seperti Stadium Negara dan Chow Kit, pada tahun 1990.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Al Kesah
1988
Computer print
28 cm × 20 cm
Collection of Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia (MGTF, USM)
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the importance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pendidik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Bintang Pujaan
1988
Print with collage (airbrush finish)
26 cm × 20 cm
ILHAM Collection
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the importance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pendidik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Ismail Zain’s Macintosh, Speakers, Keyboard & ImageWriter II
1988
Dimensions variable
Collection of Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia (MGTF, USM)
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the im- portance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pen- didik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Magic Marker
1988
Computer print
28 cm × 20 cm
Collection of Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia (MGTF, USM)
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the importance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pendidik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Phantom
1988
Digital print
25.3 cm × 20 cm
Collection of Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia (MGTF, USM)
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the importance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pendidik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
ISMAIL ZAIN
b.1930, Kedah, d.1991
Selamat Hari Valentine
1988
Digital print with hand colourisation
26 cm × 20 cm
ILHAM Collection
One of Malaysia’s most respected artists, writers, and educators, Ismail Zain was well-known for his witty and insightful perspectives on Malaysian art and culture. His purchase of a Macintosh desktop computer in 1983 and subsequent experimentation with this new technology would lead to a major exhibition entitled Digital Collage in 1988. The ground-breaking exhibition heralded the importance of new media art in the country and constituted the artist’s efforts to come to terms with the culture of the post-modernist world. The works in this series explore the meaning behind symbols and language, and the increasing presence of technology in everyday life. Works like Al Kesah which juxtaposes the image of the Ewing family from the TV series Dallas in front of a Malay traditional house also explores Malaysian society’s growing consumerism, and the influence of the global mass media on local culture.
Sebagai salah seorang artis, penulis dan pendidik yang paling dihormati di Malaysia, Ismail Zain terkenal dengan perspektif yang bijak dan berwawasan tentang seni dan budaya Malaysia. Pembelian sebuah komputer meja Macintosh pada tahun 1983 dan eksperimen berikutnya dengan teknologi baru ini membawa kepada pameran utama bertajuk Digital Collage (Kolaj Digital) pada tahun 1988. Pameran perintis itu menandakan kepentingan seni media baharu di negara ini dan membentuk usaha artis untuk bersemuka dan menyesuaikan diri dengan budaya dunia pascamodenisme. Karya dalam siri ini meneroka makna di sebalik simbol dan bahasa, serta kehadiran teknologi yang semakin meningkat dalam kehidupan seharian. Karya seperti Al Kesah yang menyandingkan imej keluarga Ewing (dari siri TV Dallas) di hadapan rumah tradisional Melayu turut meneroka perkembangan konsumerisme masyarakat Malaysia, dan pengaruh media massa global terhadap budaya tempatan.
Instant Café Theatre
Founded 1989, Kuala Lumpur
“We set out to be clowns unafraid to say that the Emperor had no clothes; to be people who celebrated the dismantling of sacred cows and pigs and who revelled in the im- portance of mocking those in power. So as satirists we have to continue to speak truth to power wherever power may lay....”
Jo Kukathas, Artistic Director, Instant Café Theatre
In response to Operasi Lalang, a security crackdown which led to political detentions without trial in 1987, Instant Café Theatre company was established in 1989 by four friends Jo Kukathas, Andrew Leci, Jit Murad and Zahim Albakri. Over the years, the company, which became a revolving ensemble of actors, musicians, writers, and comics, gained a reputation for their biting, deeply subversive political satires. Using dark humour to comment on everything from the absurdity of contemporary society and the failure of our democratic institutions to corruption and tyranny, their work challenged and redefined theatre making in Kuala Lumpur in the 90s. Instant Café Theatre’s Artistic Director Jo Kukathas continues to write for the company and perform some of its most iconic comedy characters, playfully satirising everyone from ministers to judges.
Teater Instant Café diasaskan pada tahun 1989 oleh Jo Kukathas, Andrew Leci, Jit Murad dan Zahim Albakri sebagai tindak balas terhadap Operasi Lalang 1987. Para pelakon, pemuzik, penulis, dan pelawak di syarikat teater ini silih berganti dan terkenal dengan satira politik yang tajam dan subversif. Pementasan teater mereka bersifat melawan arus, sekali gus mentakrifkan semula makna teater di Kuala Lumpur pada zaman 90-an. Mereka menggunakan jenaka gelap untuk berbicara tentang kebodohan masyarakat, kegagalan institusi demokrasi, rasuah, dan juga kezaliman yang terjadi pada waktu itu. Pengarah Artistik Teater Instant Café, Jo Kukathas, masih lagi berkarya dan pernah melakonkan watak-watak komedi, baik sebagai menteri sehinggalah watak hakim.
LIEW KUNG YU
b. 1960, Kedah
Selamat Datang to Kuala Lumpur (Jualan Hebat)
1996
Mixed media installation
90 cm × 193 cm
Artist’s Collection
When Malaysia was declared host of the Commonwealth Games for 1998, the country saw a massive spike in the advertising of foreign brands and products. Selamat Datang to Kuala Lumpur is the artist’s ironic commentary on the rise of consumerism as well as the effects of globalism on the cultural landscape with brands like McDonald’s and Barbie as ubiquitous in Kuala Lumpur as they are in any capital city in the West.
Apabila Malaysia diisytiharkan sebagai tuan rumah Sukan Komanwel tahun 1998, negara menyaksikan lonjakan besar dalam pengiklanan jenama dan produk asing. Selamat Datang to Kuala Lumpur adalah ulasan ironis artis mengenai kebangkitan konsumerisme serta kesan globalisme terhadap landskap budaya dengan kemunculan jenama seperti McDonald’s dan Barbie di Kuala Lumpur seperti mana-mana ibu kota di Barat.
NIRANJAN RAJAH
b,1961, Sri Lanka
How to Explain Malaysian Art to a Gwangju Commissioner while Slowly Getting Drunk
1999
Single-channel video
37 min 7 sec
Artist's Collection
How to Explain Malaysian Art to a Gwangju Commissioner while Slowly Getting Drunk is a single-channel video work featuring documented footage of a meeting between artist and theorist Niranjan Rajah and a visiting curator from the Gwangju Biennale who was in Kuala Lumpur to conduct research for the third edition of the biennale.
In the video, Niranjan gives an overview of Malaysia’s art scene while being offered free beer. As he drinks, his speech becomes increasingly slurred. The footage reveals the behind-the-scenes negotiations typical of the curatorial landscape in the late 1990s, where regional commissioners from influential centres like Fukuoka, Gwangju, and Brisbane collaborated with local curators, ostensibly serving as cultural mediators. Niranjan’s video critiques this dynamic, highlighting how global cultural institutions may exploit local experts within a system that extracts knowledge of local art scenes for their own purposes. By playing the role of the trickster, Niranjan subverts the interaction — making the Korean curator pay for his beer and documenting the exchange as a form of institutional critique of the contemporary art biennale circuit.
Ini adalah sebuah karya video satu saluran yang memaparkan rakaman dokumentasi pertemuan antara artis dan ahli teori Niranjan Rajah dengan seorang kurator pelawat dari Gwangju Biennale yang sedang membuat penyelidikan di Kuala Lumpur untuk Biennale Gwangju edisi ketiga.
Dalam video itu, Niranjan memberikan gambaran keseluruhan suasana seni di Malaysia sambil ditawarkan bir percuma. Sambil minum, pertuturannya menjadi semakin selamba dan tidak jelas. Rakaman itu mendedahkan rundingan di sebalik tabir yang mencirikan landskap kuratorial pada penghujung 1990-an, di mana pesuruhjaya serantau dari pusat berpengaruh seperti Fukuoka, Gwangju dan Brisbane bekerjasama dengan kurator tempatan, yang kononnya bertindak sebagai pengantara budaya. Video Niranjan mengkritik dinamik ini, menonjolkan cara institusi budaya global boleh mengeksploitasi pakar tempatan dalam sistem yang mengekstrak pengetahuan tentang adegan seni tempatan untuk tujuan mereka sendiri. Dengan memainkan peranan sebagai penipu, Niranjan mengubah interaksi— membuat kurator Korea membelanjanya bir dan mendokumentasikan pertukaran itu sebagai sebuah bentuk kritikan institusi terhadap litar biennale seni kontemporari.
NIRANJAN RAJAH
b,1961, Sri Lanka
The Failure of Marcel Duchamp/Japanese Fetish Even! album/ tissue/ door/ open
1997
Set of four computer prints
29.7 cm x 21 cm (4 pcs)
Artist's Collection
In 1996, Niranjan Rajah created The Failure of Marcel Duchamp/Japanese Fetish Even!, which is recognised as Malaysia’s first Internet artwork. The piece is both a tribute to and parody of Marcel Duchamp’s 1966 work Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas), installed at the Philadelphia Museum of Art. In response, Niranjan remixed an image taken from a Japanese bondage website, incorporating it into a photograph documenting an intervention he had made at the Duchamp installation site in 1993. Due to the erotic content, which would have been unacceptable on Malaysian servers, the image was separated from the rest of the artwork and, with the help of media artist Paul Sermon, was hosted on a server at the Hochschule für Grafik und Buchkunst (Academy of Fine Arts) in Leipzig.
The work aimed to address issues of territoriality and cultural differences on the Internet, emphasising that while information was becoming globally accessible, it was not universally accepted. Another goal of the work was to capture the experience of the “slow download” characteristic of the Internet in the mid-1990s. This slow loading process echoed Duchamp’s concept of delayed image, allowing viewers to experience it more widely with the rise of the World Wide Web. The slow download, like Duchamp’s Given, created a cascading visual effect (The Waterfall) on personal screens, illuminated by technology (The Illuminating Gas).
Pada tahun 1996, Niranjan Rajah membuat The Failure of Marcel Duchamp/Japanese Fetish Even!, yang diiktiraf sebagai karya seni Internet pertama Malaysia. Karya itu merupakan penghormatan kepada dan parodi karya instalasi Marcel Duchamp 1966 Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas) dipasang di Muzium Seni Philadelphia. Sebagai tindak balas, Niranjan mengadun semula imej yang diambil dari laman web perhambaan (seksual) Jepun, memasukkannya ke dalam gambar yang mendokumentasi campur tangan yang telah dibuatnya di tapak instalasi Duchamp pada tahun 1993. Disebabkan kandungan erotik, yang mungkin tidak boleh diterima pada pelayan internet Malaysia, imej tersebut telah dipisahkan daripada karya seni yang lain dan, dengan bantuan artis media Paul Sermon, telah dihoskan pada server di Hochschule für Grafik und Buchkunst (Akademi Seni Halus) di Leipzig.
Karya ini bertujuan menangani isu kewilayahan dan perbezaan budaya di Internet, menekankan bahawa walaupun maklumat semakin boleh diakses secara global, ia tidak diterima secara universal. Satu lagi matlamat karya ini ialah untuk menangkap pengalaman ciri “muat turun perlahan” Internet pada pertengahan 1990-an. Proses pemuatan perlahan ini menggema konsep imej tertunda Duchamp, membolehkan penonton mengalaminya dengan lebih meluas dengan kebangkitan World Wide Web. Muat turun perlahan, seperti karya Duchamp Given ini, memberi kesan visual berlatarkan (The Waterfall) pada skrin peribadi, diterangi oleh teknologi (The Illuminating Gas).
NIRANJAN RAJAH
b,1961, Sri Lanka
The Failure of Marcel Duchamp/Japanese Fetish Even!
1996
Desktop replica of http://www.hgb-leipzig.de/waterfall/
Artist's Collection
In 1996, Niranjan Rajah created The Failure of Marcel Duchamp/Japanese Fetish Even!, which is recognised as Malaysia’s first Internet artwork. The piece is both a tribute to and parody of Marcel Duchamp’s 1966 work Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas), installed at the Philadelphia Museum of Art. In response, Niranjan remixed an image taken from a Japanese bondage website, incorporating it into a photograph documenting an intervention he had made at the Duchamp installation site in 1993. Due to the erotic content, which would have been unacceptable on Malaysian servers, the image was separated from the rest of the artwork and, with the help of media artist Paul Sermon, was hosted on a server at the Hochschule für Grafik und Buchkunst (Academy of Fine Arts) in Leipzig.
The work aimed to address issues of territoriality and cultural differences on the Internet, emphasising that while information was becoming globally accessible, it was not universally accepted. Another goal of the work was to capture the experience of the “slow download” characteristic of the Internet in the mid-1990s. This slow loading process echoed Duchamp’s concept of delayed image, allowing viewers to experience it more widely with the rise of the World Wide Web. The slow download, like Duchamp’s Given, created a cascading visual effect (The Waterfall) on personal screens, illuminated by technology (The Illuminating Gas).
Pada tahun 1996, Niranjan Rajah membuat The Failure of Marcel Duchamp/Japanese Fetish Even!, yang diiktiraf sebagai karya seni Internet pertama Malaysia. Karya itu merupakan penghormatan kepada dan parodi karya instalasi Marcel Duchamp 1966 Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas) dipasang di Muzium Seni Philadelphia. Sebagai tindak balas, Niranjan mengadun semula imej yang diambil dari laman web perhambaan (seksual) Jepun, memasukkannya ke dalam gambar yang mendokumentasi campur tangan yang telah dibuatnya di tapak instalasi Duchamp pada tahun 1993. Disebabkan kandungan erotik, yang mungkin tidak boleh diterima pada pelayan internet Malaysia, imej tersebut telah dipisahkan daripada karya seni yang lain dan, dengan bantuan artis media Paul Sermon, telah dihoskan pada server di Hochschule für Grafik und Buchkunst (Akademi Seni Halus) di Leipzig.
Karya ini bertujuan menangani isu kewilayahan dan perbezaan budaya di Internet, menekankan bahawa walaupun maklumat semakin boleh diakses secara global, ia tidak diterima secara universal. Satu lagi matlamat karya ini ialah untuk menangkap pengalaman ciri “muat turun perlahan” Internet pada pertengahan 1990-an. Proses pemuatan perlahan ini menggema konsep imej tertunda Duchamp, membolehkan penonton mengalaminya dengan lebih meluas dengan kebangkitan World Wide Web. Muat turun perlahan, seperti karya Duchamp Given ini, memberi kesan visual berlatarkan (The Waterfall) pada skrin peribadi, diterangi oleh teknologi (The Illuminating Gas).
NUR HANIM KHAIRUDDIN
b.1969, Perak
Talisman series: Protector I
1994
Textile
152 cm × 97 cm
Artist’s Collection
A key artist in Skin Trilogy, Nur Hanim Khairuddin’s contributions included a performance, an installation, and textile works. These textile works shown here were part of a broader exploration into the intersection of installation art and ritual practices, reflecting the syncretic nature of Malay cosmology. In discussing installation art, she notes that it is similar to ritual in that the techniques and conventions of ritual significantly influence the creation of artistic materials and the construction of the viewer’s experience. She observes that in some Malay cultural activities, there is a symbolic and physical demarcation of experiential space, a close relationship between ritual and myth, and the transformative aspects of ritual.
Seorang artis utama dalam persembahan Skin Trilogy, sumbangan Nur Hanim Khairuddin termasuk persembahan, instalasi dan karya tekstil. Karya tekstil yang ditunjukkan di sini adalah sebahagian daripada penerokaan yang lebih luas ke dalam persimpangan seni instalasi dan amalan ritual, mencerminkan sifat sinkretik kosmologi Melayu. Dalam membincang tentang seni instalasi, beliau menyatakan bahawa ia adalah sama dengan ritual kerana teknik dan konvensyen ritual mempengaruhi penciptaan bahan artistik dan pembinaan pengalaman para penonton. Beliau memerhati bahawa dalam beberapa aktiviti kebudayaan Melayu, terdapat pembahagian simbolik dan fizikal pada ruang pengalaman, hubungan rapat antara ritual dan mitos, dan aspek transformasi dalam ritual.
NUR HANIM KHAIRUDDIN
b.1969, Perak
Talisman series: Protector I
1994
Textile
152 cm × 97 cm
Artist’s Collection
A key artist in Skin Trilogy, Nur Hanim Khairuddin’s contributions included a performance, an installation, and textile works. These textile works shown here were part of a broader exploration into the intersection of installation art and ritual practices, reflecting the syncretic nature of Malay cosmology. In discussing installation art, she notes that it is similar to ritual in that the techniques and conventions of ritual significantly influence the creation of artistic materials and the construction of the viewer’s experience. She observes that in some Malay cultural activities, there is a symbolic and physical demarcation of experiential space, a close relationship between ritual and myth, and the transformative aspects of ritual.
Seorang artis utama dalam persembahan Skin Trilogy, sumbangan Nur Hanim Khairuddin termasuk persembahan, instalasi dan karya tekstil. Karya tekstil yang ditunjukkan di sini adalah sebahagian daripada penerokaan yang lebih luas ke dalam persimpangan seni instalasi dan amalan ritual, mencerminkan sifat sinkretik kosmologi Melayu. Dalam membincang tentang seni instalasi, beliau menyatakan bahawa ia adalah sama dengan ritual kerana teknik dan konvensyen ritual mempengaruhi penciptaan bahan artistik dan pembinaan pengalaman para penonton. Beliau memerhati bahawa dalam beberapa aktiviti kebudayaan Melayu, terdapat pembahagian simbolik dan fizikal pada ruang pengalaman, hubungan rapat antara ritual dan mitos, dan aspek transformasi dalam ritual.
NUR HANIM KHAIRUDDIN
b.1969, Perak
Talisman series: Protector II
1994
Textile
117 cm × 150 cm
Artist’s Collection
A key artist in Skin Trilogy, Nur Hanim Khairuddin’s contributions included a performance, an installation, and textile works. These textile works shown here were part of a broader exploration into the intersection of installation art and ritual practices, reflecting the syncretic nature of Malay cosmology. In discussing installation art, she notes that it is similar to ritual in that the techniques and conventions of ritual significantly influence the creation of artistic materials and the construction of the viewer’s experience. She observes that in some Malay cultural activities, there is a symbolic and physical demarcation of experiential space, a close relationship between ritual and myth, and the transformative aspects of ritual.
Seorang artis utama dalam persembahan Skin Trilogy, sumbangan Nur Hanim Khairuddin termasuk persembahan, instalasi dan karya tekstil. Karya tekstil yang ditunjukkan di sini adalah sebahagian daripada penerokaan yang lebih luas ke dalam persimpangan seni instalasi dan amalan ritual, mencerminkan sifat sinkretik kosmologi Melayu. Dalam membincang tentang seni instalasi, beliau menyatakan bahawa ia adalah sama dengan ritual kerana teknik dan konvensyen ritual mempengaruhi penciptaan bahan artistik dan pembinaan pengalaman para penonton. Beliau memerhati bahawa dalam beberapa aktiviti kebudayaan Melayu, terdapat pembahagian simbolik dan fizikal pada ruang pengalaman, hubungan rapat antara ritual dan mitos, dan aspek transformasi dalam ritual.
NUR HANIM KHAIRUDDIN
b.1969, Perak
Talisman series: Protector II
1994
Textile
117 cm × 150 cm
Artist’s Collection
A key artist in Skin Trilogy, Nur Hanim Khairuddin’s contributions included a performance, an installation, and textile works. These textile works shown here were part of a broader exploration into the intersection of installation art and ritual practices, reflecting the syncretic nature of Malay cosmology. In discussing installation art, she notes that it is similar to ritual in that the techniques and conventions of ritual significantly influence the creation of artistic materials and the construction of the viewer’s experience. She observes that in some Malay cultural activities, there is a symbolic and physical demarcation of experiential space, a close relationship between ritual and myth, and the transformative aspects of ritual.
Seorang artis utama dalam persembahan Skin Trilogy, sumbangan Nur Hanim Khairuddin termasuk persembahan, instalasi dan karya tekstil. Karya tekstil yang ditunjukkan di sini adalah sebahagian daripada penerokaan yang lebih luas ke dalam persimpangan seni instalasi dan amalan ritual, mencerminkan sifat sinkretik kosmologi Melayu. Dalam membincang tentang seni instalasi, beliau menyatakan bahawa ia adalah sama dengan ritual kerana teknik dan konvensyen ritual mempengaruhi penciptaan bahan artistik dan pembinaan pengalaman para penonton. Beliau memerhati bahawa dalam beberapa aktiviti kebudayaan Melayu, terdapat pembahagian simbolik dan fizikal pada ruang pengalaman, hubungan rapat antara ritual dan mitos, dan aspek transformasi dalam ritual.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
103 cm × 38 cm × 45 cm
Collection of Pelita Hati
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
103 cm × 38 cm × 45 cm
Collection of Pelita Hati
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
37 cm × 73 cm × 32 cm
Collection of U-Wei bin Haji Saari
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
37 cm × 73 cm × 32 cm
Collection of U-Wei bin Haji Saari
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
37 cm × 73 cm × 32 cm
Collection of U-Wei bin Haji Saari
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
50.5 cm × 110 cm × 24 cm
Collection of Rahime Harun
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
50.5 cm × 110 cm × 24 cm
Collection of Rahime Harun
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
60 cm × 38 cm × 45 cm
Collection of Pakhruddin Sulaiman
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
60 cm × 38 cm × 45 cm
Collection of Pakhruddin Sulaiman
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
60 cm × 38 cm × 45 cm
Collection of Pakhruddin Sulaiman
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
.
RAY LANGENBACH
b.1948, USA
Mao of All Nations
1993
Single-channel video
2 min 33 sec
Artist’s Collection
In Ray Langenbach’s 1993 installation Mao of All Nations at GaleriWan, a ceiling fan was lowered to near floor level, rotating slowly above a glass table top supported by an inverted television facing upwards. Sand and grain were arranged on the glass in the style of a kolam, a traditional South Indian rice powder artwork, forming an image of Mao Zedong. At the centre, a television screened videos of the Cultural Revolution. In the post-Cold War era, communism was seen as a defeated ideology, and many of its symbols were no longer viewed as threatening. The figure of Mao, once deeply political, had lost much of its ideological weight but ironically began to circulate more freely as a pop culture icon in capitalist societies. By repurposing this seemingly benign political image, the artist reminds audiences of a suppressed chapter in Malaysia’s modern political history bearing in mind that just a few years prior, the 1989 Hat Yai Peace Accord was signed, ending the conflict between the Malaysian government and the Communist Party of Malaya.
Dalam instalasi Ray Langenbach 1993 Mao of All Nations di Galeriwan Kuala Lumpur, sebuah kipas siling digantung hampir ke paras lantai, berputar perlahan di bahagian atas meja kaca yang disokong oleh televisyen terbalik berhadap ke atas. Pasir dan bijirin disusun di atas kaca dalam gaya kolam, taburan seni serbuk beras India Selatan tradisional, membentuk imej Mao Zedong. Di tengah-tengah, sebuah televisyen menayangkan video Revolusi Kebudayaan. Dalam era pasca Perang Dingin, komunisme dilihat sebagai ideologi yang tumpas, dan berbagai lambangnya tidak lagi dilihat sebagai mengancam. Lambang Mao, yang pada suatu masa subur politiknya, telah hilang banyak pengaruh ideologinya dan sebaliknya secara ironisnya mula diedar dengan lebih bebas sebagai ikon budaya pop dalam masyarakat kapitalis. Dengan mengguna semula imej politik yang kelihatan jinak ini, si artis mengingatkan khalayak tentang bab yang ditindas dalam sejarah politik moden Malaysia sambil mengingati hanya beberapa tahun sebelum itu, Perjanjian Keamanan Hat Yai 1989 ditandatangani, menamatkan konflik antara kerajaan Malaysia dan Parti Komunis Malaya.
RAY LANGENBACH
b.1948, USA
Three Works with the Skin of V.I. Lenin
1992/1993/1997
Single-channel video
4 min
Artist’s Collection
Three Works with the Skin of V.I. Lenin consists of a series of exhibitions held across Penang and Kuala Lumpur in 1992 before the artwork was symbolically buried in Singapore in 1997. Performance artist Ray Langenbach, who was then teaching art at Universiti Sains Malaysia, was interested in whether the political symbols of Communism could still have cultural meaning after the fall of the Soviet Union. Upon hearing that Russian revolutionary and founder of Soviet Russia Vladimir Lenin’s corpse was to be removed from his tomb in the Kremlin, the artist constructed a tomb in Penang and sent a letter to Russian President Gorbachev, to inform him that the tomb was ready to receive Lenin’s body. The conceptual art exhibition was designed by the artist and Malaysian concrete poet Latif Kamaluddin and first shown in the Penang State Museum in 1992. Resting in the tomb was the ‘Skin of V.I. Lenin’ and a bust of Lenin was made by Gunabalan Krishnasamay.
In the same year, the exhibition was also staged at the Creative Centre of the National Art Gallery in Kuala Lumpur. On this occasion, the tomb was elevated on a plinth which meant that the tomb could only be viewed from the first floor. Red banners that symbolise Communism were draped from floor to ceiling surrounding the ‘tomb’.The video documentation offers a glimpse of this significant project that exemplifies how artists of the 1990s were increasingly becoming socially engaged and were turning to history as inspiration for new forms of counter-cultural expressions.
Three Works with the Skin of V.I. Lenin terdiri daripada siri pameran yang diadakan di seluruh Pulau Pinang dan Kuala Lumpur pada tahun 1992 sebelum karya seni itu dikebumikan secara simbolik di Singapura pada tahun 1997. Artis persembahan Ray Langenbach, yang ketika itu mengajar seni di Universiti Sains Malaysia, berminat untuk mengetahui sama ada simbol politik Komunisme masih mempunyai makna budaya selepas kejatuhan Kesatuan Soviet. Apabila mendengar bahawa mayat revolusioner Rusia dan pengasas Kesatuan Soviet Vladimir Lenin, akan dikeluarkan dari makamnya di Kremlin, artis itu membina sebuah makam di Pulau Pinang dan menghantar surat kepada Presiden Rusia Gorbachev, untuk memaklumkan kepadanya bahawa makam itu telah sedia untuk menerima mayat Lenin. Pameran seni konseptual itu direka oleh Langenbach dan penyair konkrit Malaysia Latif Kamaluddin, dan pertama kali ditunjukkan di Muzium Negeri Pulau Pinang pada tahun 1992. Beristirehat di dalam makam itu ialah ‘Skin V.I. Lenin’ dan patung Lenin dibuat oleh Gunabalan Krishnasamay.
Pada tahun yang sama, pameran itu turut diadakan di Pusat Kreatif Balai Seni Lukis Negara di Kuala Lumpur. Dalam instalasinya di sini, makam dinaikkan di atas tiang alas, membuat ia hanya boleh dilihat dari tingkat satu. Sepanduk merah yang melambangkan Komunisme digantung dari lantai ke siling mengelilingi ‘makam’. Dokumentasi video menawarkan gambaran sekilas tentang projek penting ini yang menunjukkan bagaimana artis tahun 1990-an semakin terlibat secara sosial dan beralih kepada sejarah sebagai ilham untuk bentuk baharu ekspresi budaya kontra.
WONG HOY CHEONG
b. 1960, Penang
Lalang
1994
A performance & installation
In this multi-part performance/installation work realised over several weeks, the artist Wong Hoy Cheong planted a type of rhizomic weed grass commonly found in Malaysia called lalang (Imperata cylindrica) on the lawn in front of the National Art Gallery. He then sprayed weedkiller, cut and burned the dead lalang, dug out the roots, and replaced it with cowgrass, restoring the site to its original state. The art installation and performance was held on the seventh anniversary of Operation Lalang, a politically motivated government-led crackdown in 1987, which led to over 100 Malaysians detained without trial and the revocation of the publishing licences of major news publications. It was also an ironic statement performed as a critique of the stifling space that shaped Malaysian society, as well as the kind of creativity it purported to sustain and support but also kept in check and smothered.
Video documentation of the installation process and the exhibition opening of ‘Warbox, Lalang, Killing Tools’, including performance by Carburetor Dung, and Spraying of Weed Killer, a performance by Wong Hoy Cheong as part of his work titled Lalang.
Video documentation by Ray Langenbach
Images and archival material courtesy of Wong Hoy Cheong, Chuah Chong Yong and Malaysia Design Archive
Dalam karya yang merangkau ‘persembahan/instalasi’ yang dihasilkan sepanjang beberapa minggu ini, pelukis Wong Hoy Cheong menanam lalang (Imperata cylindrica), sejenis rumput rumpai rizom yang biasa ditemui di Malaysia, di tapak berumput di hadapan Balai Seni Lukis Negara. Dia kemudiannya menyembur racun rumpai, memotong dan membakar lalang yang mati, menggali akar, dan menggantikannya dengan rumput lembu, memulihkan tapak kepada keadaan asal. Persembahan seni itu diadakan pada ulang tahun ketujuh Operasi Lalang, tindakan keras yang diterajui kerajaan bermotif politik pada tahun 1987, yang membawa kepada lebih 100 rakyat Malaysia ditahan tanpa bicara dan pembatalan lesen penerbitan syarikat berita utama. Ia juga merupakan suatu kenyataan ironik yang dilakukan sebagai kritikan terhadap suasana sesak yang membentuk masyarakat Malaysia, serta jenis kreativiti yang kononnya dikekal dan disokong tetapi juga dikawal dan disekat.
WONG HOY CHEONG
b.1960, Penang
Sook Ching
1993
Single-channel video
27 min 35 sec
Artist’s Collection
The Video Art Festival, held in November 1990, was organised by the Liberal Arts Society with support from the National Art Gallery. Its goals were to introduce video art to Malaysians, showcase it as a significant contemporary artistic form, and stimulate local production. On the occasion of the festival, artist Wong Hoy Cheong created his first video work, inspired by his 1989 painting Sook Ching, which delved into the massacres of Malayan Chinese during the Japanese Occupation of Malaya in World War II. Hoy Cheong, after conducting archival and oral historical research, felt that while the painting was expressive and personal, it lacked historical depth—specifically, the faces, expressions, and voices of real people. As a result, he turned to video as a more powerful format to communicate the human experience of suffering. Despite this, he still felt that the project lacked the “live and visceral” quality of the human body. As part of his presentation at the Video Art Festival, Hoy Cheong also developed a live performance in collaboration with Marion D’Cruz to accompany both the painting and the documentary.
Pesta Seni Video, yang diadakan pada November 1990, telah dianjurkan oleh Persatuan Seni Liberal dengan sokongan Balai Seni Lukis Negara. Matlamatnya adalah untuk memperkenalkan seni video kepada rakyat Malaysia, mempamerkannya sebagai bentuk artistik kontemporari yang penting, dan merangsang pengeluaran tempatan. Sempena pesta itu, artis Wong Hoy Cheong mencipta karya videonya yang pertama, diilhamkan oleh lukisannya pada tahun 1989 Sook Ching, yang berkisarkan pembunuhan orang Cina di Malaya di bawah Pendudukan Jepun di Tanah Melayu semasa Perang Dunia II. Hoy Cheong, selepas menjalankan penyelidikan sejarah arkib dan lisan, merasakan bahawa walaupun lukisan itu ekspresif dan peribadi, ia tidak mempunyai ke- dalaman sejarah — khususnya, wajah, ekspresi dan suara orang sebenar. Akibatnya, dia beralih kepada video sebagai format yang lebih berkuasa untuk menyampaikan pengalaman penderitaan manusia. Walaupun begitu, dia masih merasakan bahawa projek itu tidak mempunyai kualiti “naluriah dan gerak hati” manusia. Sebagai sebahagian daripada pembentangannya di Pesta Seni Video itu, Hoy Cheong turut membangunkan persembahan secara langsung dengan kerjasama Marion D’Cruz untuk mengiring kedua-dua lukisan dan dokumentasi.
WONG HOY CHEONG
b.1960, Penang
Fit Laly, Coffeeshop Worker
1996
Charcoal and silkscreen on paper
125 cm × 91.5 cm each
ILHAM Collection
These large-scale portraits were first shown in Of Migrants & Rubber Trees, a seminal exhibition by Malaysian artist Wong Hoy Cheong, held at the National Art Gallery in Kuala Lumpur in 1996. The exhibition, which told the very personal story of the artist’s Chinese immigrant family, also included charcoal drawings of more recent migrants from Indonesia, Bangladesh, Nepal, Myanmar, and the Philippines to tell a much larger story of migration, race, and class within the Malaysian context. These New Migrants represented the influx of blue-collar workers from poorer countries in the region who came to Malaysia during the economic boom of the 90s to work in the construction, plantation and services industries. Many of these workers worked on construction sites and infrastructure projects in Kuala Lumpur including the Petronas Twin Towers. By monumentalising them in these life-sized portraits and including their names and other details in the drawings, the artist has rendered these faceless, nameless migrant workers visible.
Pertama kali potret berskala besar ini dipamerkan ialah dalam Of Migrants & Rubber Trees, pameran penting oleh artis Malaysia Wong Hoy Cheong, yang diadakan di Balai Seni Lukis Negara di Kuala Lumpur pada tahun 1996. Pameran yang mengisahkan sejarah peribadi keluarga pendatang Cina si artis sendiri, juga memaparkan lukisan potret arang pendatang baru dari Indonesia, Bangladesh, Nepal, Myanmar dan Filipina untuk menceritakan kisah penghijrahan, bangsa dan kelas sosial yang lebih besar dalam konteks Malaysia. Pendatang baru ini mewakili kemasukan pekerja kolar biru dari negara-negara miskin di rantau ini yang datang ke Malaysia semasa ledakan ekonomi 90-an untuk bekerja dalam industri pembinaan, perladangan dan perkhidmatan. Ramai daripada pekerja ini bekerja di tapak pembinaan dan projek infrastruktur di Kuala Lumpur termasuk Menara Berkembar Petronas. Dengan memonumentasi mereka dalam potret sebesar saiz sebenar ini sambil memasukkan nama mereka dalam lukisan, artis menyerlahkan pekerja asing tanpa wajah dan tanpa nama ini.
.
WONG HOY CHEONG
b.1960, Penang
Madan Lama, Furniture Shop Worker
1996
Charcoal and silkscreen on paper
125 cm × 91.5 cm each
ILHAM Collection
These large-scale portraits were first shown in Of Migrants & Rubber Trees, a seminal exhibition by Malaysian artist Wong Hoy Cheong, held at the National Art Gallery in Kuala Lumpur in 1996. The exhibition, which told the very personal story of the artist’s Chinese immigrant family, also included charcoal drawings of more recent migrants from Indonesia, Bangladesh, Nepal, Myanmar, and the Philippines to tell a much larger story of migration, race, and class within the Malaysian context. These New Migrants represented the influx of blue-collar workers from poorer countries in the region who came to Malaysia during the economic boom of the 90s to work in the construction, plantation and services industries. Many of these workers worked on construction sites and infrastructure projects in Kuala Lumpur including the Petronas Twin Towers. By monumentalising them in these life-sized portraits and including their names and other details in the drawings, the artist has rendered these faceless, nameless migrant workers visible.
Pertama kali potret berskala besar ini dipamerkan ialah dalam Of Migrants & Rubber Trees, pameran penting oleh artis Malaysia Wong Hoy Cheong, yang diadakan di Balai Seni Lukis Negara di Kuala Lumpur pada tahun 1996. Pameran yang mengisahkan sejarah peribadi keluarga pendatang Cina si artis sendiri, juga memaparkan lukisan potret arang pendatang baru dari Indonesia, Bangladesh, Nepal, Myanmar dan Filipina untuk menceritakan kisah penghijrahan, bangsa dan kelas sosial yang lebih besar dalam konteks Malaysia. Pendatang baru ini mewakili kemasukan pekerja kolar biru dari negara-negara miskin di rantau ini yang datang ke Malaysia semasa ledakan ekonomi 90-an untuk bekerja dalam industri pembinaan, perladangan dan perkhidmatan. Ramai daripada pekerja ini bekerja di tapak pembinaan dan projek infrastruktur di Kuala Lumpur termasuk Menara Berkembar Petronas. Dengan memonumentasi mereka dalam potret sebesar saiz sebenar ini sambil memasukkan nama mereka dalam lukisan, artis menyerlahkan pekerja asing tanpa wajah dan tanpa nama ini.
.
WONG HOY CHEONG
b.1960, Penang
Pak Saimo, Construction Worker I
1996
Charcoal and silkscreen on paper
125 cm × 91.5 cm each
ILHAM Collection
These large-scale portraits were first shown in Of Migrants & Rubber Trees, a seminal exhibition by Malaysian artist Wong Hoy Cheong, held at the National Art Gallery in Kuala Lumpur in 1996. The exhibition, which told the very personal story of the artist’s Chinese immigrant family, also included charcoal drawings of more recent migrants from Indonesia, Bangladesh, Nepal, Myanmar, and the Philippines to tell a much larger story of migration, race, and class within the Malaysian context. These New Migrants represented the influx of blue-collar workers from poorer countries in the region who came to Malaysia during the economic boom of the 90s to work in the construction, plantation and services industries. Many of these workers worked on construction sites and infrastructure projects in Kuala Lumpur including the Petronas Twin Towers. By monumentalising them in these life-sized portraits and including their names and other details in the drawings, the artist has rendered these faceless, nameless migrant workers visible.
Pertama kali potret berskala besar ini dipamerkan ialah dalam Of Migrants & Rubber Trees, pameran penting oleh artis Malaysia Wong Hoy Cheong, yang diadakan di Balai Seni Lukis Negara di Kuala Lumpur pada tahun 1996. Pameran yang mengisahkan sejarah peribadi keluarga pendatang Cina si artis sendiri, juga memaparkan lukisan potret arang pendatang baru dari Indonesia, Bangladesh, Nepal, Myanmar dan Filipina untuk menceritakan kisah penghijrahan, bangsa dan kelas sosial yang lebih besar dalam konteks Malaysia. Pendatang baru ini mewakili kemasukan pekerja kolar biru dari negara-negara miskin di rantau ini yang datang ke Malaysia semasa ledakan ekonomi 90-an untuk bekerja dalam industri pembinaan, perladangan dan perkhidmatan. Ramai daripada pekerja ini bekerja di tapak pembinaan dan projek infrastruktur di Kuala Lumpur termasuk Menara Berkembar Petronas. Dengan memonumentasi mereka dalam potret sebesar saiz sebenar ini sambil memasukkan nama mereka dalam lukisan, artis menyerlahkan pekerja asing tanpa wajah dan tanpa nama ini.
.
WONG HOY CHEONG
b.1960, Penang
“New Migrants” series
Ester, Housekeeper
1996
Charcoal and silkscreen on paper
125 cm × 91.5 cm each
Collection of Valentine Willie
These large-scale portraits were first shown in Of Migrants & Rubber Trees, a seminal exhibition by Malaysian artist Wong Hoy Cheong, held at the National Art Gallery in Kuala Lumpur in 1996. The exhibition, which told the very personal story of the artist’s Chinese immigrant family, also included charcoal drawings of more recent migrants from Indonesia, Bangladesh, Nepal, Myanmar, and the Philippines to tell a much larger story of migration, race, and class within the Malaysian context. These New Migrants represented the influx of blue-collar workers from poorer countries in the region who came to Malaysia during the economic boom of the 90s to work in the construction, plantation and services industries. Many of these workers worked on construction sites and infrastructure projects in Kuala Lumpur including the Petronas Twin Towers. By monumentalising them in these life-sized portraits and including their names and other details in the drawings, the artist has rendered these faceless, nameless migrant workers visible.
Pertama kali potret berskala besar ini dipamerkan ialah dalam Of Migrants & Rubber Trees, pameran penting oleh artis Malaysia Wong Hoy Cheong, yang diadakan di Balai Seni Lukis Negara di Kuala Lumpur pada tahun 1996. Pameran yang mengisahkan sejarah peribadi keluarga pendatang Cina si artis sendiri, juga memaparkan lukisan potret arang pendatang baru dari Indonesia, Bangladesh, Nepal, Myanmar dan Filipina untuk menceritakan kisah penghijrahan, bangsa dan kelas sosial yang lebih besar dalam konteks Malaysia. Pendatang baru ini mewakili kemasukan pekerja kolar biru dari negara-negara miskin di rantau ini yang datang ke Malaysia semasa ledakan ekonomi 90-an untuk bekerja dalam industri pembinaan, perladangan dan perkhidmatan. Ramai daripada pekerja ini bekerja di tapak pembinaan dan projek infrastruktur di Kuala Lumpur termasuk Menara Berkembar Petronas. Dengan memonumentasi mereka dalam potret sebesar saiz sebenar ini sambil memasukkan nama mereka dalam lukisan, artis menyerlahkan pekerja asing tanpa wajah dan tanpa nama ini.
.
YEE I-LANN
b.1971, Sabah
“Apathy” series
Boot
1997
U.We coated paper print (original)
Inkjet on glossy paper (reproduction)
122 cm × 122 cm each (original)
109 cm × 109 cm each (reproduction)
After graduating from art school in Australia, artist Yee I-Lann moved to Kuala Lumpur in the early 90s. This series captures that particular period in her life, as a young creative navigating her way
and finding a place for herself in the big city.
‘I made this 27 years ago about four years after I had arrived in Kuala Lumpur from Kota Kinabalu. At the time I lived at the legendary 1960s apartment Lee Kah Yeow Villa, 14A Bukit Ceylon. It was on the hill above the Shell Station on Jalan Raja Chulan in the direct shadow of the Telekom Tower on Bukit Nenas *across the road*. We had the best ‘L’ shaped balcony in all of inner city K.L. I always felt I could feel the pulse of K.L. from that balcony. How I loved K.L. in the 90s. That apartment doesn’t exist anymore and I have since moved back to Kota Kinabalu. I don’t want to put my 53-year-old words into my 26-year-old’s mouth. There are enough words already there. I just want to say I sometimes miss that old me.’
Yee I-Lann, 2024
Setelah tamat pengajian seni di Australia, artis Yee I-Lann berpindah ke Kuala Lumpur pada awal 90-an. Siri ini merakamkan tempoh tertentu dalam hidupnya, sebagai artis muda yang mengemudi arah dan mencari tempat untuk dirinya sendiri di bandar besar.
‘Aku buat karya ini 27 tahun lalu, kira-kira empat tahun selepas tiba di Kuala Lumpur dari Kota Kinabalu. Masa itu aku tinggal di pangsapuri terkenal 1960-an ‘Lee Kah Yeow Villa’, 14A Bukit Ceylon. Ia atas bukit sebalik Stesen Shell di Jalan Raja Chulan dalam bayangan Menara Telekom di Bukit Nenas seberangnya. Kami mempunyai balkoni berbentuk ‘L’ yang terbaik di tengah-tengah K.L. Aku sentiasa fikir aku boleh merasai nadi K.L. dari balkoni itu. Betapa aku menyayangi K.L. tahun 90-an. Pangsapuri itu tidak wujud lagi dan aku pun dah berpindah semula ke Kota Kinabalu. Aku tak mahu masukkan kata-kata mulut usia 53 tahun ke dalam mulut aku usia 26 tahun. Sudah cukup kata-kata di situ. Aku cuma nak kata ada kalanya aku rindu diri aku yang lama itu.’
Yee I-Lann, 2024
YEE I-LANN
b.1971, Sabah
“Apathy” series
Gun
1997
U.We coated paper print (original)
Inkjet on glossy paper (reproduction)
122 cm × 122 cm each (original)
109 cm × 109 cm each (reproduction)
After graduating from art school in Australia, artist Yee I-Lann moved to Kuala Lumpur in the early 90s. This series captures that particular period in her life, as a young creative navigating her way
and finding a place for herself in the big city.
‘I made this 27 years ago about four years after I had arrived in Kuala Lumpur from Kota Kinabalu. At the time I lived at the legendary 1960s apartment Lee Kah Yeow Villa, 14A Bukit Ceylon. It was on the hill above the Shell Station on Jalan Raja Chulan in the direct shadow of the Telekom Tower on Bukit Nenas *across the road*. We had the best ‘L’ shaped balcony in all of inner city K.L. I always felt I could feel the pulse of K.L. from that balcony. How I loved K.L. in the 90s. That apartment doesn’t exist anymore and I have since moved back to Kota Kinabalu. I don’t want to put my 53-year-old words into my 26-year-old’s mouth. There are enough words already there. I just want to say I sometimes miss that old me.’
Yee I-Lann, 2024
Setelah tamat pengajian seni di Australia, artis Yee I-Lann berpindah ke Kuala Lumpur pada awal 90-an. Siri ini merakamkan tempoh tertentu dalam hidupnya, sebagai artis muda yang mengemudi arah dan mencari tempat untuk dirinya sendiri di bandar besar.
‘Aku buat karya ini 27 tahun lalu, kira-kira empat tahun selepas tiba di Kuala Lumpur dari Kota Kinabalu. Masa itu aku tinggal di pangsapuri terkenal 1960-an ‘Lee Kah Yeow Villa’, 14A Bukit Ceylon. Ia atas bukit sebalik Stesen Shell di Jalan Raja Chulan dalam bayangan Menara Telekom di Bukit Nenas seberangnya. Kami mempunyai balkoni berbentuk ‘L’ yang terbaik di tengah-tengah K.L. Aku sentiasa fikir aku boleh merasai nadi K.L. dari balkoni itu. Betapa aku menyayangi K.L. tahun 90-an. Pangsapuri itu tidak wujud lagi dan aku pun dah berpindah semula ke Kota Kinabalu. Aku tak mahu masukkan kata-kata mulut usia 53 tahun ke dalam mulut aku usia 26 tahun. Sudah cukup kata-kata di situ. Aku cuma nak kata ada kalanya aku rindu diri aku yang lama itu.’
Yee I-Lann, 2024
YEE I-LANN
b.1971, Sabah
“Apathy” series
Perfume
1997
U.We coated paper print (original)
Inkjet on glossy paper (reproduction)
122 cm × 122 cm each (original)
109 cm × 109 cm each (reproduction)
After graduating from art school in Australia, artist Yee I-Lann moved to Kuala Lumpur in the early 90s. This series captures that particular period in her life, as a young creative navigating her way
and finding a place for herself in the big city.
‘I made this 27 years ago about four years after I had arrived in Kuala Lumpur from Kota Kinabalu. At the time I lived at the legendary 1960s apartment Lee Kah Yeow Villa, 14A Bukit Ceylon. It was on the hill above the Shell Station on Jalan Raja Chulan in the direct shadow of the Telekom Tower on Bukit Nenas *across the road*. We had the best ‘L’ shaped balcony in all of inner city K.L. I always felt I could feel the pulse of K.L. from that balcony. How I loved K.L. in the 90s. That apartment doesn’t exist anymore and I have since moved back to Kota Kinabalu. I don’t want to put my 53-year-old words into my 26-year-old’s mouth. There are enough words already there. I just want to say I sometimes miss that old me.’
Yee I-Lann, 2024
Setelah tamat pengajian seni di Australia, artis Yee I-Lann berpindah ke Kuala Lumpur pada awal 90-an. Siri ini merakamkan tempoh tertentu dalam hidupnya, sebagai artis muda yang mengemudi arah dan mencari tempat untuk dirinya sendiri di bandar besar.
‘Aku buat karya ini 27 tahun lalu, kira-kira empat tahun selepas tiba di Kuala Lumpur dari Kota Kinabalu. Masa itu aku tinggal di pangsapuri terkenal 1960-an ‘Lee Kah Yeow Villa’, 14A Bukit Ceylon. Ia atas bukit sebalik Stesen Shell di Jalan Raja Chulan dalam bayangan Menara Telekom di Bukit Nenas seberangnya. Kami mempunyai balkoni berbentuk ‘L’ yang terbaik di tengah-tengah K.L. Aku sentiasa fikir aku boleh merasai nadi K.L. dari balkoni itu. Betapa aku menyayangi K.L. tahun 90-an. Pangsapuri itu tidak wujud lagi dan aku pun dah berpindah semula ke Kota Kinabalu. Aku tak mahu masukkan kata-kata mulut usia 53 tahun ke dalam mulut aku usia 26 tahun. Sudah cukup kata-kata di situ. Aku cuma nak kata ada kalanya aku rindu diri aku yang lama itu.’
Yee I-Lann, 2024
YEE I-LANN
b.1971, Sabah
“Apathy” series
Screwdriver
1997
U.We coated paper print (original)
Inkjet on glossy paper (reproduction)
122 cm × 122 cm each (original)
109 cm × 109 cm each (reproduction)
After graduating from art school in Australia, artist Yee I-Lann moved to Kuala Lumpur in the early 90s. This series captures that particular period in her life, as a young creative navigating her way
and finding a place for herself in the big city.
‘I made this 27 years ago about four years after I had arrived in Kuala Lumpur from Kota Kinabalu. At the time I lived at the legendary 1960s apartment Lee Kah Yeow Villa, 14A Bukit Ceylon. It was on the hill above the Shell Station on Jalan Raja Chulan in the direct shadow of the Telekom Tower on Bukit Nenas *across the road*. We had the best ‘L’ shaped balcony in all of inner city K.L. I always felt I could feel the pulse of K.L. from that balcony. How I loved K.L. in the 90s. That apartment doesn’t exist anymore and I have since moved back to Kota Kinabalu. I don’t want to put my 53-year-old words into my 26-year-old’s mouth. There are enough words already there. I just want to say I sometimes miss that old me.’
Yee I-Lann, 2024
Setelah tamat pengajian seni di Australia, artis Yee I-Lann berpindah ke Kuala Lumpur pada awal 90-an. Siri ini merakamkan tempoh tertentu dalam hidupnya, sebagai artis muda yang mengemudi arah dan mencari tempat untuk dirinya sendiri di bandar besar.
‘Aku buat karya ini 27 tahun lalu, kira-kira empat tahun selepas tiba di Kuala Lumpur dari Kota Kinabalu. Masa itu aku tinggal di pangsapuri terkenal 1960-an ‘Lee Kah Yeow Villa’, 14A Bukit Ceylon. Ia atas bukit sebalik Stesen Shell di Jalan Raja Chulan dalam bayangan Menara Telekom di Bukit Nenas seberangnya. Kami mempunyai balkoni berbentuk ‘L’ yang terbaik di tengah-tengah K.L. Aku sentiasa fikir aku boleh merasai nadi K.L. dari balkoni itu. Betapa aku menyayangi K.L. tahun 90-an. Pangsapuri itu tidak wujud lagi dan aku pun dah berpindah semula ke Kota Kinabalu. Aku tak mahu masukkan kata-kata mulut usia 53 tahun ke dalam mulut aku usia 26 tahun. Sudah cukup kata-kata di situ. Aku cuma nak kata ada kalanya aku rindu diri aku yang lama itu.’
Yee I-Lann, 2024
ZAKIAH OMAR & HANNO BAETHE
b.1962, Pahang; b.1947, Germany
Boom Boom Bang
1998
Single-channel video
53 min 59 sec
Artist’s Collection
Boom Boom Bang, a documentary about Malaysian artists and their perspectives on the rapidly growing Kuala Lumpur of the late 1990s, was produced and directed by Berlin-based Zakiah Omar and Hanno Baethe, and funded by Nordmedia, the film board of Lower Saxony in Germany in 1998. The video highlights several performing artists and writers living and working in Kuala Lumpur and its surrounding areas. The title references a renowned 1990s K.L. nightclub called Boom Boom Room, where drag cabarets were frequently performed. The documentary explores how the genre of performance is used in the arts to reflect on otherwise serious and sensitive issues. As it profiles these artists, the documentary also serves as a portrait of a frenetic city undergoing swift transformation, driven by newfound wealth and the confidence of an emerging global economic player. The film features a diverse range of artists, including Jo Kukathas, members of the Instant Cafe Theatre, Mano Maniam, Rafique and Rehman Rashid, Ramli Ibrahim, and Guna. It also includes music by Temuan Indigenous singer Mak Minah, whose village was under threat of flooding due to the construction of the Selangor dam. Throughout the documentary, we see how the featured artists use their work to reflect on the political and economic realities of their time.
Boom Boom Bang merupakan sebuah dokumentari tentang para seniman Malaysia dan pandangan mereka terhadap kota Kuala Lumpur yang pesat membangun pada akhir 1990-an. Ia diterbitkan dan diarahkan oleh Zakiah Omar dan Hanno Baethe yang berpangkalan di Berlin, serta dibiayai oleh Nordmedia, lembaga filem Lower Saxony di Jerman pada tahun 1998. Tajuknya merujuk kepada Boom Boom Room, sebuah kelab kabaret yang terkenal di KL pada tahun 1990-an. Dokumentari ini meneroka peranan seni persembahan dalam mengetengahkan isu-isu yang serius dan sensitif. Selain memaparkan wajah- wajah seniman, dokumentari ini turut melukiskan potret kota Kuala Lumpur pada waktu itu. Ramai seniman yang tampil dalam filem ini, termasuklah Jo Kukathas, para anggota Instant Cafe Theatre, Mano Maniam, Rafique dan Rehman Rashid, Ramli Ibrahim, dan Guna. Ia juga mengetengahkan muzik Mak Minah, penyanyi Orang Asli Temuan yang kampungnya terancam akibat pembinaan empangan Selangor. Dalam dokumentari ini, kita dapat melihat bagaimana para seniman merenung kenyataan politik dan ekonomi pada zaman itu dengan menggunakan seni masing-masing.
ZAKIAH OMAR & HANNO BAETHE
b.1962, Pahang; b.1947, Germany
Boom Boom Bang
1998
Single-channel video
53 min 59 sec
Artist’s Collection
Boom Boom Bang, a documentary about Malaysian artists and their perspectives on the rapidly growing Kuala Lumpur of the late 1990s, was produced and directed by Berlin-based Zakiah Omar and Hanno Baethe, and funded by Nordmedia, the film board of Lower Saxony in Germany in 1998. The video highlights several performing artists and writers living and working in Kuala Lumpur and its surrounding areas. The title references a renowned 1990s K.L. nightclub called Boom Boom Room, where drag cabarets were frequently performed. The documentary explores how the genre of performance is used in the arts to reflect on otherwise serious and sensitive issues. As it profiles these artists, the documentary also serves as a portrait of a frenetic city undergoing swift transformation, driven by newfound wealth and the confidence of an emerging global economic player. The film features a diverse range of artists, including Jo Kukathas, members of the Instant Cafe Theatre, Mano Maniam, Rafique and Rehman Rashid, Ramli Ibrahim, and Guna. It also includes music by Temuan Indigenous singer Mak Minah, whose village was under threat of flooding due to the construction of the Selangor dam. Throughout the documentary, we see how the featured artists use their work to reflect on the political and economic realities of their time.
Boom Boom Bang merupakan sebuah dokumentari tentang para seniman Malaysia dan pandangan mereka terhadap kota Kuala Lumpur yang pesat membangun pada akhir 1990-an. Ia diterbitkan dan diarahkan oleh Zakiah Omar dan Hanno Baethe yang berpangkalan di Berlin, serta dibiayai oleh Nordmedia, lembaga filem Lower Saxony di Jerman pada tahun 1998. Tajuknya merujuk kepada Boom Boom Room, sebuah kelab kabaret yang terkenal di KL pada tahun 1990-an. Dokumentari ini meneroka peranan seni persembahan dalam mengetengahkan isu-isu yang serius dan sensitif. Selain memaparkan wajah- wajah seniman, dokumentari ini turut melukiskan potret kota Kuala Lumpur pada waktu itu. Ramai seniman yang tampil dalam filem ini, termasuklah Jo Kukathas, para anggota Instant Cafe Theatre, Mano Maniam, Rafique dan Rehman Rashid, Ramli Ibrahim, dan Guna. Ia juga mengetengahkan muzik Mak Minah, penyanyi Orang Asli Temuan yang kampungnya terancam akibat pembinaan empangan Selangor. Dalam dokumentari ini, kita dapat melihat bagaimana para seniman merenung kenyataan politik dan ekonomi pada zaman itu dengan menggunakan seni masing-masing.
ZULKIFLI YUSOFF
b.1962, Kedah
The Judge II
1990s
Metal
124 cm × 70 cm × 50 cm
Collection of Rahime Harun
Zulkifli Yusoff is known for his use of iconic portraiture, current affairs and popular culture to explore relationships of power and authority, social change and history. He first began to gain recognition for his installations dealing with Malaysian political culture in the 80s and 90s, when he won major prizes at the Young Contemporaries Awards and Salon Malaysia. This sculpture was part of a series of sculptures first exhibited at Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art exhibition at the National Art Gallery. The work addresses with the artist’s trademark satirical humour, abuses of power by the executive and the undermining of democratic institutions.
Zulkifli Yusoff terkenal dengan penggunaan potret ikonik, hal ehwal semasa dan budaya popular untuk menghayati hubungan kuasa dan kewibawaan, perubahan sosial dan sejarah. Beliau mula mendapat pengiktirafan untuk karya instalasinya tentang budaya politik Malaysia pada tahun 80-an dan 90-an, apabila memenangi hadiah utama Anugerah Bakat Muda Sezaman dan Salon Malaysia. Arca ini adalah sebahagian daripada siri arca yang pertama kali dipamerkan dalam pameran Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art di Balai Seni Lukis Negara. Karya itu menangani dengan jenaka satira artis, penyalahgunaan kuasa eksekutif dan penjejasan institusi demokrasi.
ZULKIFLI YUSOFF
b.1962, Kedah
The Judge II
1990s
Metal
124 cm × 70 cm × 50 cm
Collection of Rahime Harun
Zulkifli Yusoff is known for his use of iconic portraiture, current affairs and popular culture to explore relationships of power and authority, social change and history. He first began to gain recognition for his installations dealing with Malaysian political culture in the 80s and 90s, when he won major prizes at the Young Contemporaries Awards and Salon Malaysia. This sculpture was part of a series of sculptures first exhibited at Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art exhibition at the National Art Gallery. The work addresses with the artist’s trademark satirical humour, abuses of power by the executive and the undermining of democratic institutions.
Zulkifli Yusoff terkenal dengan penggunaan potret ikonik, hal ehwal semasa dan budaya popular untuk menghayati hubungan kuasa dan kewibawaan, perubahan sosial dan sejarah. Beliau mula mendapat pengiktirafan untuk karya instalasinya tentang budaya politik Malaysia pada tahun 80-an dan 90-an, apabila memenangi hadiah utama Anugerah Bakat Muda Sezaman dan Salon Malaysia. Arca ini adalah sebahagian daripada siri arca yang pertama kali dipamerkan dalam pameran Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art di Balai Seni Lukis Negara. Karya itu menangani dengan jenaka satira artis, penyalahgunaan kuasa eksekutif dan penjejasan institusi demokrasi.
ZULKIFLI YUSOFF
b.1962, Kedah
The Judge II
1990s
Metal
124 cm × 70 cm × 50 cm
Collection of Rahime Harun
Zulkifli Yusoff is known for his use of iconic portraiture, current affairs and popular culture to explore relationships of power and authority, social change and history. He first began to gain recognition for his installations dealing with Malaysian political culture in the 80s and 90s, when he won major prizes at the Young Contemporaries Awards and Salon Malaysia. This sculpture was part of a series of sculptures first exhibited at Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art exhibition at the National Art Gallery. The work addresses with the artist’s trademark satirical humour, abuses of power by the executive and the undermining of democratic institutions.
Zulkifli Yusoff terkenal dengan penggunaan potret ikonik, hal ehwal semasa dan budaya popular untuk menghayati hubungan kuasa dan kewibawaan, perubahan sosial dan sejarah. Beliau mula mendapat pengiktirafan untuk karya instalasinya tentang budaya politik Malaysia pada tahun 80-an dan 90-an, apabila memenangi hadiah utama Anugerah Bakat Muda Sezaman dan Salon Malaysia. Arca ini adalah sebahagian daripada siri arca yang pertama kali dipamerkan dalam pameran Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art di Balai Seni Lukis Negara. Karya itu menangani dengan jenaka satira artis, penyalahgunaan kuasa eksekutif dan penjejasan institusi demokrasi.
ZULKIFLI YUSOFF
b.1962, Kedah
The Judge II
1990s
Metal
124 cm × 70 cm × 50 cm
Collection of Rahime Harun
Zulkifli Yusoff is known for his use of iconic portraiture, current affairs and popular culture to explore relationships of power and authority, social change and history. He first began to gain recognition for his installations dealing with Malaysian political culture in the 80s and 90s, when he won major prizes at the Young Contemporaries Awards and Salon Malaysia. This sculpture was part of a series of sculptures first exhibited at Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art exhibition at the National Art Gallery. The work addresses with the artist’s trademark satirical humour, abuses of power by the executive and the undermining of democratic institutions.
Zulkifli Yusoff terkenal dengan penggunaan potret ikonik, hal ehwal semasa dan budaya popular untuk menghayati hubungan kuasa dan kewibawaan, perubahan sosial dan sejarah. Beliau mula mendapat pengiktirafan untuk karya instalasinya tentang budaya politik Malaysia pada tahun 80-an dan 90-an, apabila memenangi hadiah utama Anugerah Bakat Muda Sezaman dan Salon Malaysia. Arca ini adalah sebahagian daripada siri arca yang pertama kali dipamerkan dalam pameran Bara Hati Bahang Jiwa: Expression and Expressionism in Contemporary Malaysian Art di Balai Seni Lukis Negara. Karya itu menangani dengan jenaka satira artis, penyalahgunaan kuasa eksekutif dan penjejasan institusi demokrasi.
A.C.A.B. (Kuala Lumpur)
Racial Hatred (from Unite & Fight EP, 1995)
03:49
Amid The Mimic (Subang Jaya/Klang)
Tian Loong (Edited) (from Excorcising The Jimi Jammies tape, 1997)
03:22
Dead Idols (Cukai, Kemaman, Terengganu)
Revenge (from Demo tape, 1994)
02:57
F.S.F. (Kuala Lumpur/Sg.Petani)
Tolerate No More (from No Racism, No Authority Compilation tape, 1997)
01:27
Fuckchop (Seremban, Negeri Sembilan)
Candyman (from FYF tape, 1998)
02:25
Future Primitive (Johor Bahru, Johor)
Spin My Head (from Violent Society tape, 1994)
02:41
Headcleaner (Ipoh, Perak)
What's Daddy Tune? (from Kopi Sechewen comp tape, 1997)
02:55
Insane (Kuching, Sarawak)
Delicious (from Circumstance tape, 1996)
03:12
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
LIEW KUNG YU
b. 1960, Kedah
Pasti Boleh/Sure Can One
1997
Installation with red carpet, trophies, photo booth, collage
Dimensions variable
Artist’s Collection
First shown as part of Cities on the Move, the iconic travelling exhibition curated by Hou Hanru and Hans Ulrich Obrist in 1997, Pasti Boleh/Sure Can One is the artist’s playful and humorous tribute to the ‘can-do’ spirit of Malaysia in the 90s as one of the rising Asian tiger cub economies. The work which comprises five photo-collage ‘trophies’ are presented in Kung Yu’s trademark style as gloriously kitsch symbols of Malaysia’s aspirational ambitions to be ‘bigger and better’, from expansive golf courses and oversized shopping malls to grand architectural feats such as the Petronas Twin Towers, the tallest buildings in the world in 1999. At the end of the red carpet, visitors are met with a cut-out Wawasan 2020 figure, a spectacular if garish symbol of modernity and progress.
Mula-mula dipaparkan dalam projek Cities on the Move, sebuah pameran merantau yang dikendalikan oleh Hou Hanru dan Hans Ulrich Obrist pada tahun 1997, karya Pasti Boleh/Sure Can One merupakan penghormatan berseloka yang diberi kepada seruan semangat ‘Malaysia Boleh’ pada tahun 90-an sebagai salah sebuah ekonomi anak harimau Asia yang semakin meningkat. Karya dalam bentuk lima buah piala kolaj foto dipersembahkan dalam gaya karya ‘kitsch’ Kung Yu sebagai simbol picisan kegemilangan aspirasi Malaysia untuk menjadi ‘lebih besar dan lebih baik’, dalam mengadakan padang golf yang luas, pusat membeli-belah yang besar, dan kejayaan seni bina yang hebat seperti Menara Berkembar Petronas, bangunan tertinggi di dunia pada tahun 1999. Di hujung permaidani merah, pelawat disambut dengan keratan bentuk Wawasan 2020, simbol ke- modenan dan kemajuan yang menakjub dan menjolok mata.
Marlinspike (Kuala Lumpur)
Instrusive Phenomenon (from Ekipsnilram tape, 1993)
04:11
Nerd (Kuching, Sarawak)
Let's Be With Me (from What A Day tape, 1996)
02:40
Stoned Crows (Kuala Terengganu)
Mahathir Blues (Edit)
(Recorded 1989, from AEDES Radioshow Vol. 1 tape, 1994)
04:38
The Splatters (Kuala Lumpur)
I Hate Being Adopted (from Get Outta My Way tape, 1995)
04:08
Boom Boom Bang: Play & Parody in 1990s K.L.
13 Oktober 2024 – 9 Mac 2025
Kuala Lumpur mengalami suatu lonjakan dalam keyakinan politik dan ekonomi pada era 1990- an. Pada waktu itu, ekonomi Malaysia tumbuh dengan pesat, dan rakyat sangat berbangga dengan pencapaian negara. Perkembangan Kuala Lumpur, atau lebih dikenali sebagai KL, disokong oleh ledakan ekonomi Asia dan ia memiliki budaya hidup bandar yang sedia rencam. Budaya, seni, persembahan, dan juga hiburan berkembang dengan pesat dan sangat meriah dalam suasana yang menggalakkan kolaborasi rentas disiplin. Bandaraya Kuala Lumpur sendiri tumbuh dengan sangat pantas dengan kehadiran para pekerja asing yang bertungkus lumus membina bangunan-bangunan pencakar langit dan lebuh raya. Namun demikian, pada tahun 1997, apabila terjadinya Krisis Kewangan Asia dan perpecahan ideologi, segala-galanya terhenti.
Pameran ini mengambil tajuk sebuah dokumentari, iaitu Boom Boom Bang, arahan Zakiah Omar dan Hanno Baethe yang diterbitkan pada tahun 1998. Dokumentari ini memaparkan tentang bagaimana para seniman dan penulis menggunakan parodi dan pendekatan bermain (meneroka) dalam mengkritik perubahan budaya dan sosial pada masa itu. Di awal dokumentari tersebut, penggiat teater Jo Kukathas berkata, “Maklumat dan propaganda yang disogokkan terlalu memberat satu hala dengan satu cara fikir, dan saya fikir kita ada di situ untuk memberi sedikit penekanan terhadap cara-cara fikir yang lain.”
Boom Boom Bang: Play & Parody in 1990s K.L. menyelami naratif sebuah kota yang sangat kaya dan rumit berdasarkan cerita-cerita daripada para seniman, penghibur, dan penulis yang terlibat secara langsung dalam membentuk budaya saingan pada waktu itu. Pameran ini mengetengahkan gandingan dua buah konsep, iaitu parodi dan permainan, yang menjadi kunci untuk memahami landskap budaya di Kuala Lumpur pada tahun 1990-an. Dengan menggunakan jenaka untuk mengkritik pihak berkuasa, parodi menjadi suatu alat yang sangat berkesan dalam menyatakan kebenaran dan melawan naratif yang dominan. Perkara ini terjadi ketika globalisasi dan pembangunan pesat di kota itu sering diungkapkan dengan pelbagai retorik yang sedap didengar oleh telinga. Namun, di bawah lapisan itu, terdapat ramai seniman yang sedang melawan gambaran ideal ini dengan mencadangkan cara-cara alternatif untuk hidup dan bekerja di kota.
Konsep permainan pula muncul melalui semangat “buat sendiri” atau DIY yang mencirikan dekad yang penuh dengan kolaborasi rentas disiplin ini. Ketika ruang-ruang dan kelompok- kelompok seni semakin bertambah di kota Kuala Lumpur, para seniman dari pelbagai latar belakang mula menjalankan pelbagai projek bersama. Projek-projek ini tidak hanya menyemarakkan lagi daya kreatif, tetapi juga menjadi wadah untuk mengetengahkan suara- suara yang kurang didengari.
Pameran ini mengetengahkan budaya saingan yang muncul beransur-ansur akibat proses perbandaran dan kemajuan Internet ini. Ketika kota ini semakin membesar, ranah budayanya juga semakin membesar. Banyak ruang dan kelompok seni lahir dan membawa suara-suara yang berbeza dengan cara sendiri.
Boom Boom Bang meninjau kembali pendewasaan/perkembangan budaya seni di Kuala Lumpur. Di samping mempamerkan praktis seni rentas disiplin yang penting dari tahun 1990- an, pameran ini turut menampilkan dokumentasi arkib melibatkan kedua-dua seni persembahan dan seni visual, merangkumi foto, objek, rakaman video, lakaran, surat-menyurat, poster, dan juga risalah. Ia menampakkan peningkatan ketara dari segi kerencaman ekspresi budaya di lokasi-lokasi dan ruang-ruang yang berbeza, mendedahkan hubungan-hubungan yang tidak dijangka ketika para seniman bergelut dengan pengalaman semasa mereka dalam mencabar pengertian lazim tentang identiti dan rasa kepunyaan di Malaysia.
Boom Boom Room
Located just up the road from Telekom Museum on Jalan Raja Chulan in Kuala Lumpur, Boom Boom Room (now the site of the Godown) was a cabaret nightclub that epitomised the playful spirit of the city’s new urban culture. It gathered a vibrant mix of people from all walks of life, from socialites and fashionistas to artists, musicians, and designers. Boom Boom Room originated in 1993 at Bugis Village in Singapore. When it opened its Kuala Lumpur branch, some of the Singapore team were persuaded to join the new venture. Set in a colonial mansion, the venue featured a standard nightclub on the ground floor playing R&B and soul music, while the first floor hosted an extravagant drag show.
Boom Boom Room (kini menjadi tapak bangunan Godown) yang terletak berhampiran Muzium Telekom di Jalan Raja Chulan, merupakan sebuah kelab kabaret yang mencerminkan semangat dan gaya hidup bandar yang terkini. Ia menjadi tempat berkumpul orang yang suka bersosial, kaki fesyen, seniman, pemuzik, dan para pereka. Boom Boom Room yang diasaskan pada tahun 1993 di Bugis Village, Singapura ini membuka cawangannya di Kuala Lumpur dengan penglibatan beberapa orang anggota asal. Di tingkat bawah, kelab ini memainkan muzik R&B dan Soul, manakala tingkat atas menyajikan pertunjukan drag.
Photographs courtesy of Dara Raziana Othman, one of the original cast members of Boom Boom Room, Kuala Lumpur.
End of month has come
Scratched my sign on the line
Get in queue and cashed my money
Bought a pack and two buns
Wonder where my friends are right now
Much too early for them Number 33's on the run
Blowing smoke all around
Took a ride to chow kit road
Browsed for hours at the bundle stalls
While the Indos they looked so bored
On the lookout for the plain clothed cops
Payday now
It's getting late
Pregnant skies on the way
Rode a 12, went straight to CM
Gotta see all my friends
Gonna pay the ones that i owed
Share a smoke and a joke
Buy a round of hot teh tarik
Just lepak there till late
Central Market, hey! here I come
No better place to hang around
The only scene where i belong
Nothing beats the underground
Payday now
PAYDAY
The Allure of Manure (1998)
2:48
I find myself on this bus again
Fighting for space, a seat for rent
The rain is falling down with shame
We trapped ourselves in this heat of Caine
Why should I be here
Greeting these unsmiling faces
Should I even care?
For the measly sum that I get
Marking my steps upon these stairs
Punching this clock with tenderness
I'm in a room where no sun will shine
I hear their voices, still I don't understand
Promises made, promises gone
The poor is still under the strong
Still the world will run this way till I'm gone
Still I'm here all day long
Slave of wage, I'm one
Still I'm here all day long
Slave of wage till I'm gone
LABOUR OF HATE
Songs for Friends (1993)
5:49
I walk alone, I'm lonely
Why should we hear your problems?
I sit at home, I'm crying
Don't wanna know, we don't care
My baby''s gone, she left me
Suits you right boy, you know it
My world gone wrong, please help me
We have no time, now beat it!
And everyday, we share our dreams
And every night, we laugh at things
Now you don't care, now you don't feel
So many friends, now where they'll be?
Now you tell me
BOO HOO CLAPPING SONG
Songs for Friends (1993)
5:36
Pi Mai Pi Mai Tang Tu
1985–2004
Kering (Bahagian 2)
Season 28, Episode 9
1998
Single-channel video
6 min 47 sec
Courtesy of Media Prima TV Networks
The iconic sitcom Pi Mai Pi Mai Tang Tu which ran for 15 years on TV3 originated from the play Syyy! written by Hatta Azad Khan and staged in 1983 under the direction of Mior Hashim Manap. Othman Hafsham, recognising the potential of the theatre production, directed the TV version, which was set in a fictional village called Kampung Seri Wangi. By 1990, the sitcom had changed its title to Pi Mai Pi Mai Tang Tu and the series was now set in a block of flats in Kuala Lumpur called Rumah Pangsa Seri Wangi. The village mamak stall had now been transformed into various spaces in the flats, including a food stall, driving school, and hair salon—liminal spaces where public and private spheres intersect. Like Mat Som, the series also explored the challenges of rural-urban migration, through the stories of the characters adapting to life in the big city.
As the number of episodes per season grew, so did the number of writers. In addition to Hafsham, Hatta Azad Khan also occasionally wrote and directed certain episodes. The show was filmed using the MCP (multi-camera production) technique and recorded in front of a live audience. Pi Mai Pi Mai Tang Tu was also one of the first Malay-language sitcoms to feature a multiracial cast
Sitkom ikonik Pi Mai Pi Mai Tang Tu yang ditayangkan selama 15 tahun di TV3 bermula daripada naskhah teater Syyy! yang ditulis Hatta Azad Khan dan dipentaskan pada tahun 1983 di bawah arahan Mior Hashim Manap. Othman Hafsham, yang menyedari potensi pementasan teater tersebut, mengarahkan versi TV berlatarkan sebuah kampung fiksyen bernama Kampung Seri Wangi. Menjelang tahun 1990, sitkom tersebut telah ditukar tajuknya kepada Pi Mai Pi Mai Tang Tu dan latar ceritanya diubah kepada blok flat di Kuala Lumpur bernama Rumah Pangsa Seri Wangi. Warung mamak di kampung kini telah berubah menjadi ruang-ruang di flat, seperti gerai makan, sekolah memandu, dan salun rambut — ruang liminal yang menghubungkan dunia awam dan peribadi. Seperti Mat Som, siri ini mengupas cabaran migrasi dari luar bandar ke bandar melalui watak-watak yang ingin menyesuaikan diri dengan kehidupan di kota besar.
Seiring dengan peningkatan jumlah episod setiap musim, bilangan penulis juga bertambah. Selain Hafsham, Hatta Azad Khan juga sesekali menulis dan mengarahkan beberapa episod. Rancangan ini dirakam menggunakan teknik MCP (multi-camera production) di hadapan penonton secara langsung. Pi Mai Pi Mai Tang Tu juga merupakan salah satu sitkom bahasa Melayu terawal yang menampilkan barisan pelakon pelbagai kaum.
Poster
Illustration & design by Sidney Tan (b. 1977, Kuala Lumpur)
Collection of Instant Café Theatre
One of Jo Kukathas’ most beloved and enduring characters is YBeeee, who first appeared in ICT sketches in the early 1990s. In his various portfolios such as Ministry of Misinformation and the Minister of Breaking Records, YBeeee has been a hapless palimpsest for power.
Salah satu daripada watak Jo Kukathas yang paling disayangi dan diminati adalah Ybeeee, yang julung kalinya tampil di dalam sketsa ICT pada awal tahun 1990-an. Dalam pelbagai jawatan yang dipegang seperti Menteri Salah Maklumat dan Menteri Pecah Rekod, Ybeeee merupakan boneka kekuasaan yang malang.
Skin Trilogy (1995)
Video documentation, archival material, photographs
Courtesy of Five Arts Centre and Chuah Chong Yong
Skin Trilogy was a “visual performance event on futuristic Malaysia” presented by Five Arts Centre. It took place over three weekends over March and April 1995 at the National Art Gallery in Kuala Lumpur, which was then housed in the former colonial Majestic Hotel building, repurposed as a gallery. The trilogy consisted of three plays by renowned Malaysian writer K.S. Maniam, exploring how race functions as a tool of control and power in a dystopian future Malaysia. Directed by Krishen Jit, with visual direction by artist Wong Hoy Cheong, the performance was site-specific, with visual artists, dancers, musicians, and actors creating separate but interconnected performances, forming a multi-layered and multi-perspective response to the script.
Prominent Malaysian visual artists including Bayu Utomo Radjikin, Hasnul J. Saidon, Liew Kung Yu, Nur Hanim Khairuddin, Simryn Gill, and Zulkifli Yusoff, contributed installation pieces throughout the gallery as interpretations of the playwright’s text. Musicians led by Sunetra Fernando and dancers led by Lena Ang also created works that were performed alongside the scripted text, interacting with the installations. The actors, after rehearsing with Krishen Jit, focused on embodying the narrative.
The installations and the gallery itself served as permanent visual texts in contrast to the ephemeral nature of the performances. These elements encouraged audiences to critically engage with theatre as a site where multiple aesthetic and political meanings converge within a shared frame—the gallery space and the script.The performance imagined a multicultural future through a multidimensional display of diverse artistic expressions.
Skin Trilogy merupakan sebuah “persembahan seni visual tentang sebuah negara Malaysia pada masa hadapan” yang dianjurkan oleh Five Arts Centre. Ia diadakan selama tiga hujung minggu pada bulan Mac dan April 1995 di Balai Seni Negara, yang pada ketika itu terletak di bangunan Hotel Majestic. Trilogi yang menggabungkan tiga buah drama yang ditulis oleh K.S. Maniam ini melihat peranan kaum sebagai alat kawalan dan penguasaan di sebuah negara Malaysia yang distopia. Ia diarahkan oleh Krishen Jit dengan arahan visual oleh Wong Hoy Cheong. Persembahan ini bersifat tertumpu pada lokasi. Para seniman visual, penari, pemuzik, dan pelakon yang terlibat menghasilkan persembahan secara berasingan, namun saling berkait antara satu sama lain, sehingga memberikan tindak balas yang berlapis-lapis terhadap skrip.
Para seniman visual seperti Bayu Utomo Radjikin, Hasnul J. Saidon, Liew Kung Yu, Nur Hanim Khairuddin, Simryn Gill, dan Zulkifly Yusoff menghasilkan pelbagai karya instalasi bagi menafsirkan teks tersebut. Sunetra Fernando dan Lena Ang turut mengetuai persembahan muzik dan tarian, manakala para pelakon pula menjiwai naratif.
Ruang galeri dan karya seni instalasi tersebut berfungsi sebagai “teks visual” yang dipertentangkan dengan persembahan yang bersifat sementara. Ia mengajak penonton untuk menghayati teater sebagai sebuah ruang pertemuan antara estetik dengan politik. Persembahan tersebut membayangkan sebuah masa depan pelbagai budaya melalui penggabungan pelbagai dimensi seni.
Skin Trilogy (1995)
Video documentation, archival material, photographs
Courtesy of Five Arts Centre and Chuah Chong Yong
Skin Trilogy was a “visual performance event on futuristic Malaysia” presented by Five Arts Centre. It took place over three weekends over March and April 1995 at the National Art Gallery in Kuala Lumpur, which was then housed in the former colonial Majestic Hotel building, repurposed as a gallery. The trilogy consisted of three plays by renowned Malaysian writer K.S. Maniam, exploring how race functions as a tool of control and power in a dystopian future Malaysia. Directed by Krishen Jit, with visual direction by artist Wong Hoy Cheong, the performance was site-specific, with visual artists, dancers, musicians, and actors creating separate but interconnected performances, forming a multi-layered and multi-perspective response to the script.
Prominent Malaysian visual artists including Bayu Utomo Radjikin, Hasnul J. Saidon, Liew Kung Yu, Nur Hanim Khairuddin, Simryn Gill, and Zulkifli Yusoff, contributed installation pieces throughout the gallery as interpretations of the playwright’s text. Musicians led by Sunetra Fernando and dancers led by Lena Ang also created works that were performed alongside the scripted text, interacting with the installations. The actors, after rehearsing with Krishen Jit, focused on embodying the narrative.
The installations and the gallery itself served as permanent visual texts in contrast to the ephemeral nature of the performances. These elements encouraged audiences to critically engage with theatre as a site where multiple aesthetic and political meanings converge within a shared frame—the gallery space and the script.The performance imagined a multicultural future through a multidimensional display of diverse artistic expressions.
Skin Trilogy merupakan sebuah “persembahan seni visual tentang sebuah negara Malaysia pada masa hadapan” yang dianjurkan oleh Five Arts Centre. Ia diadakan selama tiga hujung minggu pada bulan Mac dan April 1995 di Balai Seni Negara, yang pada ketika itu terletak di bangunan Hotel Majestic. Trilogi yang menggabungkan tiga buah drama yang ditulis oleh K.S. Maniam ini melihat peranan kaum sebagai alat kawalan dan penguasaan di sebuah negara Malaysia yang distopia. Ia diarahkan oleh Krishen Jit dengan arahan visual oleh Wong Hoy Cheong. Persembahan ini bersifat tertumpu pada lokasi. Para seniman visual, penari, pemuzik, dan pelakon yang terlibat menghasilkan persembahan secara berasingan, namun saling berkait antara satu sama lain, sehingga memberikan tindak balas yang berlapis-lapis terhadap skrip.
Para seniman visual seperti Bayu Utomo Radjikin, Hasnul J. Saidon, Liew Kung Yu, Nur Hanim Khairuddin, Simryn Gill, dan Zulkifly Yusoff menghasilkan pelbagai karya instalasi bagi menafsirkan teks tersebut. Sunetra Fernando dan Lena Ang turut mengetuai persembahan muzik dan tarian, manakala para pelakon pula menjiwai naratif.
Ruang galeri dan karya seni instalasi tersebut berfungsi sebagai “teks visual” yang dipertentangkan dengan persembahan yang bersifat sementara. Ia mengajak penonton untuk menghayati teater sebagai sebuah ruang pertemuan antara estetik dengan politik. Persembahan tersebut membayangkan sebuah masa depan pelbagai budaya melalui penggabungan pelbagai dimensi seni.
Warbox, Lalang, Killing Tools
(1994)
One of the most significant exhibitions in Malaysian art history, Warbox, Lalang, Killing Tools was held at the Creative Centre, National Art Gallery Malaysia (then located at the former Majestic Hotel) in 1994. The group exhibition organised by Five Arts Centre presented the work of three artists—Wong Hoy Cheong, Bayu Utomo Radjikin, and Raja Shahriman. Unusually for that time, a local punk band Carburetor Dung was invited to officiate the event rather than the usual politician or cultural grandee. Considering that this was a time when the Government was cracking down on rock and alternative music, the decision to invite a punk band to officiate at the national art institution was a radical one.
Included in the exhibition catalogue was a tongue-in-cheek contribution by artist Hasnul Jamal Saidon in the form of a magazine-styled questionnaire—an ironic, playful take on art criticism and the challenges of interpreting art.
Salah sebuah pameran paling signifikan dalam sejarah seni Malaysia, Warbox, Lalang, Killing Tools telah diadakan di Pusat Kreatif, Balai Seni Lukis Negara Malaysia (ketika itu terletak di bekas Hotel Majestic) pada tahun 1994. Pameran berkumpulan anjuran Five Arts Centre itu mengemukakan karya tiga orang artis—Wong Hoy Cheong, Bayu Utomo Radjikin, dan Raja Shahriman. Suatu yang tidak lazim dilakukan pada masa itu, ialah kumpulan muzik punk tempatan Carburetor Dung telah dijemput untuk merasmikan acara dan bukan ahli politik atau tokoh budayawan seperti biasanya. Memandangkan ini adalah ketika Kerajaan bertindak keras terhadap muzik rock dan alternatif, keputusan untuk menjemput kumpulan punk untuk merasmikan majlis institusi seni negara adalah satu tindakan yang radikal.
Termasuk dalam katalog pameran adalah sumbangan bergurau oleh artis Hasnul Jamal Saidon dalam bentuk soal selidik gaya majalah — pandangan ironik dan berseloroh terhadap kritikan seni dan cabaran mentafsirnya.
workers of the world
friends and foes before me
take a look around and think now
here's the life we're living herded in like animals
fed with lies and rulings
it's the time for us to speak now
give our world a kicking
aren't we all the victims aren't we all a joke
eyes awake (but) we're sleeping
we run
with the hands of the world
we'll raise this flag
hey come together
and raise this one flag
hey! people unite
and raise this flag
hey come together
we're flying one flag
OUR VOICE/THE FLAG
The Allure of Manure (1998)
04:34
E-Art Asean Oniine ialah direktori bercita-cita tinggi yang
dimajukan oleh Hasnul Jamal Saidon dan Niranjan Rajah, bertujuan meluaskan skop Pameran Seni Elektronik Pertama, yang diadakan pada 1997 di Balai Seni Lukis Negara Kuala Lumpur, untuk merangkumi seluruh wilayah Asia Tenggara. la memanfaatkan upaya Internet untuk sambungannsegera, melambangkan peralihan daripada idea tradisional, masyarakat, budaya, ekonomi, politik dan seni berasaskan lokasi. Pangkalan data, boleh dicari mengikut nama artis, memfokuskan pada profil artis Asia Tenggara yang bekerja dengan seni elektronik. Walaupun direktori itu tidak lagi boleh ditemui dalam talian, menonjolkan aspek sementara alam digital, dokumentasinya kekal dalam bentuk buku kecil. Buku kecil itu dibahagikan kepada dua bahagian: ‘Electronic Journal’ dan ‘E-Art Asean Database’. ‘Electronic Journal bertujuan mempromosikan biasiswa dan perbincangan mengenai seni elektronik di rantau ini, manakala ‘E-Art Asean Database’ menawarkan profil terperinci pengamal seni elektronik.
Sebagai tindak balas kepada krisis politik dan ekonomi yang tidak menentu pada tahun 1998, komuniti seni berkumpul untuk menubuhgrup Artis Pro Activ, sebuah kumpulan artis prihatin yang tidak partisan. Biasa disingkatkan sebagai APA, nama pergerakan itu diterjemahkan sebagai 'apa' dalam bahasa Melayu, mencerminkan hasrat pergerakan itu untuk mengambil peranan yang lebih bersepadu, pro-aktif dalam membangunkan masyarakat yang lebih berfikiran kritis dan terbuka. Ahli APA mengadakan festival seni pelbagai disiplin dari 27 Oktober hingga 15 November 1998. Mereka memanfaatkan langganan internet domestik yang semakin meningkat dan menggunakan senarai mel internet untuk menggerakkan ahli ke arah tindakan dan aktiviti kolektif. Festival ini merangkumi pelbagai acara, daripada persembahan teater dan pameran seni visual kepada tayangan filem di berbagai tempat di seluruh Kuala Lumpur. Koleksi dokumen arkib ini memaparkan bagaimana para artis yang cenderong politik bermain dengan strategi kreatif untuk mencabar status quo politik, sementara teknologi baru merangsang aspirasi kolektif untuk transformasi sosial melalui ekspresi kreatif.
Boom Boom Bang: Play & Parody in 1990s K.L.
13 October 2024 – 9 March 2025
Ahmad Fuad Osman, Azizan Paiman, Bayu Utomo Radjikin, Carburetor Dung, Chuah Chong Yong, Five Arts Centre, Hasnul Jamal Saidon, Hatta Azad Khan, Ismail Zain, Instant Cafe Theatre, LabDNA, Liew Kung Yu, Niranjan Rajah, Nur Hanim Khairuddin, Raja Shahriman Raja Aziddin, Ray Langenbach, Sidney Tan, Yee I-Lann, Wong Hoy Cheong, Zakiah Omar & Hanno Baethe, and Zulkifli Yusoff.
Curated by Simon Soon, Rahel Joseph, Azzad Diah & Ridhwan Saidi
The 1990s in Kuala Lumpur were characterised by a surge in political and economic confidence. During this time, Malaysia saw robust economic growth and a heightened sense of national pride. Buoyed by the Asian Economic boom, the city of Kuala Lumpur, commonly referred to as K.L., witnessed a dynamic period of expansion, particularly evident in the realms of culture, art, performance, and entertainment, driven by a lively urban culture that fostered cross-disciplinary collaboration. The city itself underwent rapid development, with skyscrapers and highways built by a new wave of migrant workers, forever transforming the cityscape. However, this optimism was abruptly halted in 1997 by the Asian financial crisis and ensuing ideological rifts.
The title of the exhibition is a direct reference to a documentary video titled Boom Boom Bang, directed and produced by Berlin-based Zakiah Omar and Hanno Baethe in 1998. The documentary, featuring reflections from performing artists and writers, explores how artists navigate and critique the societal and cultural shifts of the time. In an opening reflection for the documentary, theatre director and writer Jo Kukathas observes, “There’s a huge weight of information and propaganda about one way of thinking and one way of looking at things, and I think we’re just there adding a little weight to the other side.”
Boom Boom Bang: Play & Parody in 1990s K.L. delves into the rich and complex narrative of a city in flux, told through the voices of artists, performers, and writers who helped shape an emerging counterculture. At the heart of this exhibition are the twinned concepts of parody and play, which serve as entry points into understanding the cultural landscape of 1990s Kuala Lumpur. Parody, with its use of humour to critique power and authority, became a potent tool for artists to push back against dominant narratives. This was a time when the city’s rapid development and globalisation were often portrayed in a positive light, yet beneath the surface and away from the mainstream, artists were challenging these ideals and suggesting alternative ways of living and working in the city.
Play, on the other hand, is represented through the interdisciplinary experimentation and spirit of DIY that characterised a decade of collaboration across artistic forms. As new spaces and communities emerged across the expanding city, artists from diverse backgrounds came together, often resulting in cross-disciplinary collaborations. These collaborations not only fostered creativity but also provided a platform for alternative voices and perspectives to thrive.
The exhibition highlights the gradual emergence of this counterculture, driven by the urbanisation of Kuala Lumpur, and the growing availability of the internet. As the city grew and evolved, so too did its cultural scene, with numerous spaces and communities spontaneously forming to accommodate and mobilise alternative views on their own terms.
Boom Boom Bang revisits the coming of age of Kuala Lumpur’s artistic culture. In showcasing significant interdisciplinary art practices of the 1990s, the exhibition features archival documentations across both performing and visual arts, encompassing photographs, objects, video recordings, sketches, correspondences, posters, and brochures from significant events. It explores the increasing visibility of diverse cultural expressions across different sites and spaces, revealing unexpected connections as artists grappled with the now-ness of their contemporary experiences that challenged conventional understandings of identities and belonging in Malaysia.
Acknowledgements
A.P Art Gallery, Anurendra Jegadeva, Bernice Chauly, Dara Othman, Daryl Goh, Farah Rani, Huzir Sulaiman, Jo Kukathas, Joe Kidd, Joe Sidek, June Tan, Kathy Rowland, Marion D'Cruz, Mark Teh, Malaysia Design Archive, Media Prima, Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia, MY Art Memory Project, Nani Kahar, Naim Hamid, Roopesh Sitharan, Pakhruddin Sulaiman, Pelita Hati, PopTeeVee, The Back Room, U-Wei bin Haji Saari, Valentine Willie
APA
In response to the volatile political and economic crisis in 1998, the arts community came together that year to form Artis Pro Activ, a non-partisan group of concerned artists. Often abbreviated as APA, the movement’s name translates as ‘what’ in the Malay language, reflecting on the movement’s desire to take a more concerted, pro-active role in developing a more critically-minded and open society. APA members presented a multidisciplinary art festival from 27 October – 15 November 1998, by tapping into the growing domestic internet subscription and utilising internet mailing lists to mobilise members towards collective action and activities. The festival included a wide range of events from theatre performances and art exhibitions to film screenings, and utilised different venues across Kuala Lumpur. This collection of archival documents showcases how politically engaged artists adopted playful and creative strategies to challenge the political status quo, while emerging technologies helped galvanise collective aspirations for social transformation through creative expressions.
Sebagai tindak balas kepada krisis politik dan ekonomi yang tidak menentu pada tahun 1998, komuniti seni berkumpul untuk menubuh grup Artis Pro Activ, sebuah kumpulan artis prihatin yang tidak partisan. Biasa disingkatkan sebagai APA, nama pergerakan itu diterjemahkan sebagai 'apa' dalam bahasa Melayu, mencerminkan hasrat pergerakan itu untuk mengambil peranan yang lebih bersepadu, pro-aktif dalam membangunkan masyarakat yang lebih berfikiran kritis dan terbuka. Ahli APA mengadakan festival seni pelbagai disiplin dari 27 Oktober hingga 15 November 1998. Mereka memanfaatkan langganan internet domestik yang semakin meningkat dan menggunakan senarai mel internet untuk menggerakkan ahli ke arah tindakan dan aktiviti kolektif. Festival ini merangkumi pelbagai acara, daripada persembahan teater dan pameran seni visual kepada tayangan filem di berbagai tempat di seluruh Kuala Lumpur. Koleksi dokumen arkib ini memaparkan bagaimana para artis yang cenderong politik bermain dengan strategi kreatif untuk mencabar status quo politik, sementara teknologi baru merangsang aspirasi kolektif untuk transformasi sosial melalui ekspresi kreatif.
E-Art Asean Online
1997
Hasnul Jamal Saidon (b, 1965, Perak) &
Niranjan Rajah (b.1961, Sri Lanka}
Developed by Hasnul Jamal Saidon and Niranjan Rajah, E-Art Asean Online was an ambitious directory designed to broaden the scope of the first Electronic Art Show, held in 1997 at the National Art Gallery in Kuala Lumpur, to include the entire Southeast Asian region. It leveraged the Internet's capacity for instant connectivity, symbolising a shift away from traditional, location-based ideas of community, culture, economics, politics, and art. The database, searchable by artist name, focused on profiling Southeast Asian artists working with electronic art. Although the directory is no longer accessible online, highlighting the impermanence of the digital realm, its documentation survives in the form of a booklet. The booklet is divided into two sections: ‘Electronic Journal’ and ‘E-Art Asean Database'. Electronic Journal aimed to promote scholarship and discussion on electronic art in the region, while the ‘E-Art Asean Database' offered detailed profiles of electronic art practitioners.
E-Art Asean Oniine ialah direktori bercita-cita tinggi yang dimajukan oleh Hasnul Jamal Saidon dan Niranjan Rajah, bertujuan meluaskan skop Pameran Seni Elektronik Pertama, yang diadakan pada 1997 di Balai Seni Lukis Negara Kuala Lumpur, untuk merangkumi seluruh wilayah Asia Tenggara. la memanfaatkan upaya Internet untuk sambungan segera, melambangkan peralihan daripada idea tradisional, masyarakat, budaya, ekonomi, politik dan seni berasaskan lokasi. Pangkalan data, boleh dicari mengikut nama artis, memfokuskan pada profil artis Asia Tenggara yang bekerja dengan seni elektronik. Walaupun direktori itu tidak lagi boleh ditemui dalam talian, menonjolkan aspek sementara alam digital, dokumentasinya kekal dalam bentuk buku kecil. Buku kecil itu dibahagikan kepada dua bahagian: ‘Electronic Journal’ dan ‘E-Art Asean Database’. ‘Electronic Journal' bertujuan mempromosikan biasiswa dan perbincangan mengenai seni elektronik di rantau ini, manakala ‘E-Art Asean Database’ menawarkan profil terperinci pengamal seni elektronik.
Instant Café Theatre Comedy Revue
1990s
Video recording
1 min 48 sec
Collection of Instant Café Theatre
Kuch Kuch Twin Tower High High Hay Audio recording
1999
written by Maya Tan Abdullah and the Instant Café Theatre ensemble
sung by Maya Tan Abdullah & Reshmonu
Kuch Kuch Twin Tower High High Hay Audio recording
1999
written by Maya Tan Abdullah and the Instant Café Theatre ensemble
sung by Maya Tan Abdullah & Reshmonu
Odour in Court
1999
Single-channel video
14 min 49 sec
Odour in Court, the first sketch featuring Instant Café Theatre’s infamous Judge Mental Singh Gall, was written in 1999, following the trials of the then Deputy Prime Minister Anwar Ibrahim. Written by Kam Raslan, Jo Kukathas, Na’a Murad and Puvan Selvanathan, it starred Jo Kukathas as the Judge, Joanna Bessey as the Young Lawyer, Manesh Nesaratnam as the defendant, Rashid Salleh as Constable Kassim and Patrick Teoh as the Old Lawyer. The Judge became a popular character and appeared both on and off stage, including at an exhibition featuring Wong Hoy Chong’s Vitrine of Contemporary Events with its judges’ wigs made of cow dung. The cast in this recording is Jo Kukathas as the Judge, Gavin Yap as the Defendant, Farah Rani as Young Lawyer, Chacko Vadaketh as the Old Lawyer and Naim Hamid as Constable Kassim.
Odour in Court merupakan sketsa pertama yang menampilkan watak terkenal Judge Mental Singh Gall dari Instant Café yang ditulis pada tahun 1999 berikutan perbicaraan mantan Timbalan Perdana Menteri Anwar Ibrahim. Hasil tulisan Jo Kukathas, Na’a Murad dan Puvan Selvanathan, sketsa ini dibintangi oleh Jo Kukathas sebagai Judge, Joanna Bessey sebagai Peguam Muda, Manesh Nesaratnam sebagai Tertuduh, Rashid Salleh sebagai Konstabel Kassim dan Patrick Teoh sebagai Peguam Tua. Watak Judge meningkat popular dan tampil di dalam dan luar pentas, termasuk di dalam pameran yang mempamerkan karya rambut palsu hakim yang bertajuk Vitrine of Contemporary Events oleh Wong Hoy Cheong yang diperbuat dari tahi lembu. Pelakon dalam rakaman ini adalah Jo Kukathas sebagai Judge, Gavin Yap sebagai Tertuduh, Farah Rani sebagai Peguam Muda, Chacko Vadaketh sebagai Peguam Tua dan Naim Hamid sebagai Konstabel Kassim.
YBeeee
Single-channel video
43 sec
Courtesy of Jo Kukathas and PopTeeVee
One of Jo Kukathas’ most beloved and enduring characters is YBeeee, who first appeared in ICT sketches in the early 1990s. In his various portfolios such as Ministry of Misinformation and the Minister of Breaking Records, YBeeee has been a hapless palimpsest for power.
Salah satu daripada watak Jo Kukathas yang paling disayangi dan diminati adalah Ybeeee, yang julung kalinya tampil di dalam sketsa ICT pada awal tahun 1990-an. Dalam pelbagai jawatan yang dipegang seperti Menteri Salah Maklumat dan Menteri Pecah Rekod, Ybeeee merupakan boneka kekuasaan yang malang.
You live your life with the venom of malice
You stinking soul loves the sickness it carries
You stabbed your friends for property
and money
You turned your back on our trust and
our friendship
All the lies that you've told
All the faith that you took
Left me down and screaming
Now it's time for my punch
I've taken all I can
Watch your steps now my friend
You selfish jerk!
Unthinking bastard!
Time to feel my hurt!
Kiss my boots with your face,
right here now!
You lied your way to your platform and high seats
Promote ignorance to people of your deeds
You twist your laws for property and money
Your rape our rights for more power and glory
All the wealth that you reap
All the tears that you squeezed
As you make love to your greed
Time has come for our hunt
We will take our stand
Watch your steps now old man!
Pot-bellied sick nerds
Corrupted bastards
Time to feel our hurt
We will hang you high, right here, now
die!
PROPERTY PROPERLY
Songs for Friends (1993)
3:03
Carburetor Dung
Founded 1991, Kuala Lumpur
The respective worlds of punk music and visual arts collided when popular punk band Carburetor Dung opened the Warbox, Lalang, Killing Tools exhibition at the National Art Gallery in 1994. Originally known as Stormfish, the band changed its name to Carburetor Dung when Joe Kidd joined the band in early 1992. The band name was taken from a book by Lester Bangs, an American music critic who championed a lot of the early punk rock bands of the 60s and 70s. The band members were Lan Bear, Fendi, Shahlan, Shahfari, and Joe Kidd. Carburetor Dung recorded their first song You’re a Problem in 1993 and their first album Songs for Friends was released later that year. The songs from the album were about the day-to-day life of local youths — from relationships to political awareness.
The materials exhibited in this section are not limited to the discography of Carburetor Dung but also includes material which embodies the anti- consumerist attitude and D-I-Y ethic manifested by Joe Kidd as the maker of Aedes (Malaysia’s first punk zine), gig organiser, driving force behind Sonic Asylum Records, graphic designer, weekly columnist for Blasting Concept, backbone of the first year of the ‘Alternatif’ TV show, founder of The Ricecooker Shop (2007–2014), and archivist (The Ricecooker Archives), among others. The album Songs For Friends (1993) and the compilation A Circle of Friends (1993) are reflective of the sentiments of the young people who hung out at Central Market in K.L. during that era, using music as a medium for self-expression. It was also a space where thoughts, creativity, and actions were manifested through various mediums (writing and design) in celebration of freedom and defiance. As Joe Kidd put it, “Punk sokmo.”
Pertembungan antara dunia muzik punk dan seni terjadi setelah kumpulan muzik punk, Carburetor Dung, membuka pameran Warbox, Lalang, Killing Tools di Balai Seni Lukis Negara pada tahun 1994. Pada asalnya, kumpulan muzik ini dikenali sebagai Stormfish. Namun, setelah Joe Kidd menyertai mereka pada awal tahun 1992, nama tersebut ditukar kepada Carburetor Dung. Nama tersebut diambil daripada buku tulisan Lester Bangs, seorang pengkritik muzik Amerika yang banyak menulis tentang kumpulan muzik punk rock era 60-an dan 70-an. Kumpulan ini terdiri daripada Lan Bear, Fendi, Shahlan, Shahfari, dan Joe Kidd. Pada tahun 1993, Carburetor Dung merakamkan lagu pertama mereka, You’re a Problem, dan album debut mereka, Songs for Friends. Lagu-lagu dalam album ini mengisahkan tentang kehidupan anak muda tempatan, hubungan peribadi, sehinggalah kepada kesedaran politik mereka.
Selain daripada diskografi, pameran ini turut menampilkan karya-karya yang memaparkan sikap anti-konsumerisme dan semangat “buat sendiri” (DIY) Carburator Dung. Hal ini tampak jelas pada sosok Joe Kidd. Dia merupakan orang pertama yang menerbitkan, Aedes, sebuah zine punk yang pertama di Malaysia. Joe juga merupakan seorang penganjur gig, orang penting dalam Sonic Asylum Records, pereka grafik, penulis kolum Blasting Concept, tulang belakang rancangan TV
“Alternatif,” pengasas The Ricecooker Shop (2007– 2014), dan aktivis The Ricecooker Archives. Pendek kata, Joe Kidd memainkan peranan yang penting dalam membangunkan komuniti punk tempatan. Album Songs for Friends (1993) dan A Circle of Friends (1993) berbicara tentang semangat anak muda yang pada zaman itu sering berkumpul di Pasar Seni KL dan bermain muzik untuk me- luahkan perasaan mereka. Di tempat itu jugalah pelbagai idea dan kreativiti bercambah melalui tulisan dan seni atas semangat kebebasan dan pemberontakan. Seperti kata Joe Kidd, “Punk sokmo.”
RAJA SHAHRIMAN RAJA AZIDDIN
b.1967, Perak
Killing Tools series
1994
Metal sculptures
60 cm × 38 cm × 45 cm
Collection of Pakhruddin Sulaiman
Raja Shahriman Raja Aziddin’s series of works, Killing Tools, which debuted at the group exhibition Warbox, Lalang, Killing Tools explores the practical and mystical aspects of weapons and the poetic portrayal of human movement in combat. These works are a testament to Raja Shahriman’s heritage and his fascination with the contradictory nature of tools. By transforming scrap metal into keris and swords fashioned into functional sculptures with pure aesthetic appeal, Raja Shahriman challenges the socio-cultural significance of Malay weaponry, thereby deconstructing its functionalism and mythic protocols.
Siri karya Raja Shahriman Raja Aziddin, Killing Tools, yang dipersembahkan buat pertama kalinya
dalam pameran berkumpulan Warbox, Lalang, Killing Tools, meneroka aspek praktikal dan mistik senjata dan gambaran puitis pergerakan manusia dalam pertempuran. Karya seperti ini adalah bukti kepada warisan Raja Shahriman dan minatnya kepada sifat alat yang bertentangan. Dengan mengubah besi buruk menjadi keris dan pedang yang dibentuk menjadi arca berfungsi dengan daya tarikan estetik tulen, beliau mencabar kepentingan sosiobudaya senjata Melayu, sekali gus merungkai fungsi dan protokol mitosnya.
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Boom Boom Bang: Play & Parody in 1990s K.L.
13 Oktober 2024 – 9 Mac 2025
Kuala Lumpur mengalami suatu lonjakan dalam keyakinan politik dan ekonomi pada era 1990- an. Pada waktu itu, ekonomi Malaysia tumbuh dengan pesat, dan rakyat sangat berbangga dengan pencapaian negara. Perkembangan Kuala Lumpur, atau lebih dikenali sebagai KL, disokong oleh ledakan ekonomi Asia dan ia memiliki budaya hidup bandar yang sedia rencam. Budaya, seni, persembahan, dan juga hiburan berkembang dengan pesat dan sangat meriah dalam suasana yang menggalakkan kolaborasi rentas disiplin. Bandaraya Kuala Lumpur sendiri tumbuh dengan sangat pantas dengan kehadiran para pekerja asing yang bertungkus lumus membina bangunan-bangunan pencakar langit dan lebuh raya. Namun demikian, pada tahun 1997, apabila terjadinya Krisis Kewangan Asia dan perpecahan ideologi, segala-galanya terhenti.
Pameran ini mengambil tajuk sebuah dokumentari, iaitu Boom Boom Bang, arahan Zakiah Omar dan Hanno Baethe yang diterbitkan pada tahun 1998. Dokumentari ini memaparkan tentang bagaimana para seniman dan penulis menggunakan parodi dan pendekatan bermain (meneroka) dalam mengkritik perubahan budaya dan sosial pada masa itu. Di awal dokumentari tersebut, penggiat teater Jo Kukathas berkata, “Maklumat dan propaganda yang disogokkan terlalu memberat satu hala dengan satu cara fikir, dan saya fikir kita ada di situ untuk memberi sedikit penekanan terhadap cara-cara fikir yang lain.”
Boom Boom Bang: Play & Parody in 1990s K.L. menyelami naratif sebuah kota yang sangat kaya dan rumit berdasarkan cerita-cerita daripada para seniman, penghibur, dan penulis yang terlibat secara langsung dalam membentuk budaya saingan pada waktu itu. Pameran ini mengetengahkan gandingan dua buah konsep, iaitu parodi dan permainan, yang menjadi kunci untuk memahami landskap budaya di Kuala Lumpur pada tahun 1990-an. Dengan menggunakan jenaka untuk mengkritik pihak berkuasa, parodi menjadi suatu alat yang sangat berkesan dalam menyatakan kebenaran dan melawan naratif yang dominan. Perkara ini terjadi ketika globalisasi dan pembangunan pesat di kota itu sering diungkapkan dengan pelbagai retorik yang sedap didengar oleh telinga. Namun, di bawah lapisan itu, terdapat ramai seniman yang sedang melawan gambaran ideal ini dengan mencadangkan cara-cara alternatif untuk hidup dan bekerja di kota.
Konsep permainan pula muncul melalui semangat “buat sendiri” atau DIY yang mencirikan dekad yang penuh dengan kolaborasi rentas disiplin ini. Ketika ruang-ruang dan kelompok- kelompok seni semakin bertambah di kota Kuala Lumpur, para seniman dari pelbagai latar belakang mula menjalankan pelbagai projek bersama. Projek-projek ini tidak hanya menyemarakkan lagi daya kreatif, tetapi juga menjadi wadah untuk mengetengahkan suara- suara yang kurang didengari.
Pameran ini mengetengahkan budaya saingan yang muncul beransur-ansur akibat proses perbandaran dan kemajuan Internet ini. Ketika kota ini semakin membesar, ranah budayanya juga semakin membesar. Banyak ruang dan kelompok seni lahir dan membawa suara-suara yang berbeza dengan cara sendiri.
Boom Boom Bang meninjau kembali pendewasaan/perkembangan budaya seni di Kuala Lumpur. Di samping mempamerkan praktis seni rentas disiplin yang penting dari tahun 1990- an, pameran ini turut menampilkan dokumentasi arkib melibatkan kedua-dua seni persembahan dan seni visual, merangkumi foto, objek, rakaman video, lakaran, surat-menyurat, poster, dan juga risalah. Ia menampakkan peningkatan ketara dari segi kerencaman ekspresi budaya di lokasi-lokasi dan ruang-ruang yang berbeza, mendedahkan hubungan-hubungan yang tidak dijangka ketika para seniman bergelut dengan pengalaman semasa mereka dalam mencabar pengertian lazim tentang identiti dan rasa kepunyaan di Malaysia.