For artist Liew Kwai Fei‘s solo show (23 October – 17 November, 2024), organized by The Back Room KL, titled 排一排 Side by Side 排一排, I contributed an as-told-to essay in the form of a monologue that offers an insightful portal into the working mind of one of Malaysia’s most prolific contemporary painters, how he […]
For artist Tan Zi Hao‘s solo show at A+ WORKS of ART (6 – 27 July, 2024), titled The Tongue Has No Bones, I contributed an epistolary essay that offers a fictive lens through which one can approach the topics of lingual betrayal, the colonial history of tongues, and nationalist language policy that continue to
One of the oldest art forms known to humankind, drawing has witnessed something of a renaissance in today’s concept-heavy art world. Walking through “Titik Garis Bentuk: Drawing As Practice,” one could not help but notice the endless spectrum of possibilities embedded within this universal and ubiquitous medium: explorations of form, elements of social critique, and the illustration of cultural memory.
Kuala Lumpur: Titik Garis Bentuk: Drawing as Practice Read More »
Her painting series “Great Leap Forward,” 1998–99, bore testament to the vanity of modernization by constructing a domain from which loomed the gunungan—a distinguished triangle symbolizing the universe in traditional Indonesian wayang kulit performances. Nonetheless, Dutt suggests that the sanctity of this cosmic realm has been tainted by the infringing consequences of unchecked developmentalism.