Redza Piydasa, Empty Canvas On Which So Many Shadows Have Fallen, 1974 (part of Towards a Mystical Reality installation)
Vincent Leong, The Exhibition That Was (installation detail), 2007
Vincent also played ‘Rizal P. Dasar’ in The Fake Show held at Reka Art Space in 2006. ‘Piss-take’ parodies Piyadasa’s visual form not only to draw parallels between the artist and Duchamp, it is also a comical ribbing at the kind of zen and taoist inflected attitude to art-making and thinking that Redza Piyadasa and Sulaiman Esa were espousing in the ‘Towards A Mystical Reality’ exhibition, taking the form of an oriental pissoir.
A split-up pissoir is a highly appropriate allusion in more ways than the act of borrowing Piyadasa’s vocabulary. On the opening night of the ‘Towards a Mystical Reality’ exhibition, way back in 1974, in a brash but brilliant display of one-upmanship in the most inimitably dadaist fashion, Salleh Ben Joned, effant terrible of Malaysian poetry, urinated on the manifesto.
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