WANTED: Someone to restore Arteri and give it 2nd life. Interested? Email: mail.sharonchin.com
At what point did the work turn transgressive? Clues littered in the comment thread of Alex’s photo coverage seem to suggest at the unease some commentators felt upon seeing how a bill-board size image of our prime minister were casually stepped over by the viewing public. This transgression seems to be a cultural one, subverting the polite customary norms in a performance of disrespect towards a public figure which we could just step over.
I would have like that criticism leveled against the work come from more intelligent quarters and not one that solely rest on a very narrow interpretation of a subversion of cultural norms. In a country like Malaysia, where those in power and their supporters still believe they are able to control the production of culture. Consequently the gallery as a physical space is one that still exist within their territorial jurisdiction. This is where they err.
As bigger battles are being fought in our political arena, cultural contestations (though smaller in scale but no less important in terms of impact) will inevitably arise in the shifting sites where authorities naturally lose their grip.
In an art climate that is made up of a largely apathetic public, it’s hard to gauge where the limits are. We do get away with quite a lot of things in the arts. It’s only when someone complains about a work of art that the process of self-censorship kicks in. The removal of Fahmi’s work shows us how responsive art institutions and establishment in Malaysia can be, as much as they are committed to pushing the boundaries and skirting around sensitive issues. But I take to heart that there are spaces around town that are receptive to those who challenge the status quo and bold enough to support their initiative even as they recognise their limitations.
To know that the work has caused so much offense, I should like to think that the artist has achieved some measure of success in his provocative work. After all, this is why the work is powerful and relevant to our times.
(SS)
It was entertaining, profound and ultimately disappointing that Fahmi’s work and indeed the entire Rock Kaka show was removed or better still ‘erased’ from the gallery at such break neck speeds due to conservative paranoia and commercial pragmatism. I take some comfort in the fact that Arteri is able to preserve and continue discussion around this short burst of satirical provocation. Culture is a reflection of society and needs to be free to challenge and open debates on sensitive issues about the country and world we live in.
This cultural idealism is not often a reality because of the narrow mindedness, insecurities, self indulgences and as Simon rightly says apathy of cultural practitioners, their public,the fans, critics and those who just don’t give a damn (which is the largest stat of them all) and of course Government. It is a flawed system and we know it. But what are we going to do about it? Say clever and not so clever things in cyberspace? Well that is a start but we need to capitalise on this moment and do more, more shows, more things in real space, that create dialogue and further action that helps strengthen the importance of contemporary cultural and visual practice at a level of confidence and sophistication and not just in the rhetoric. Although striking the right tone is key, what is needed is a strength of conviction that allows for mutual communication. What we must strive for is a sustainable legacy and not a short flash in the pan to be forgotten like yesterday’s news. This is not easy to do, and is frustrating, our hands seem to always be tied, who is listening? is it intervention in commercial galleries and public institutions to make freedom of cultural expression noticeable to those in power or the role of intimate artist run alternative spaces with small passionate audiences to lead the way?
What I do want to say as well though is that this was a show with works by five people. That Fahmi’s work hijacked the exhibition is a testament to the ambition and confidence of this stellar piece. However, it would have been nice to have seen a tighter framing of the notion of Rock music and how the works linked to one another, or rather why these artists were chosen to show together. So in the end I left a little confused. Perhaps this is exactly the point? Aren’t we all a little confused most of the time in this great country of ours?
The private gallery is more readily censurable than the internet, there is an economic threat and a physical space which can, if so desired, be shut down. But interestingly, the piece survives online, not to forget that half of it is a cleverly constructed YouTube video.
It is an issue of art insofar as the artist in question has chosen a provocative subject, the image of a leader struggling to clear 45% approval from Malaysians. But it also means, via the proof furnished by the actions of the government and its agents, that to take a critical or provocative stance, to shock as has long been the wont of modern art, one merely has to stretch cultural norms on the image of the leader. Though one should ask, why this image of the leader and not others? What about that image famously trodden upon and criss-crossed by motorcycles in the wake of the Perak coup? What about all those campaign posters that fall to the streets or end up in the landfills? What is it about the context of the image that creates provocation? Does the leader have two bodies – one corporeal, one graphic – each equally mortifiable?
In highly censored societies the bar for dissidence is set very low by virtue of the fear of authorities that even wisecracks can lead to cracks in the wall of state. An authority suggests by such actions that it is unable to persuade its case to its subjects, to gain legitimacy by willing consent rather than coercion. It points to a crisis of legitimacy.
It also points to another feature of Malaysian political life, specifically the subculture of the ruling party. Namely, the culture of unquestioned leadership. Followers should not question their leaders. Loyalty is rewarded, disloyalty is punished, much like in the Sultanate court culture which preceded our constitutional monarchy. But in the present case, we have an extension of this logic. The followers have taken it upon themselves to affirm their loyalty by making sure NO ONE questions their leaders.
Yet this is at odds with the proper functioning of a democracy. Leaders are supposed to be questioned. Prime Ministers in other countries take questions in Parliament. Their actions are scrutinised by the media. Democracy, with a multi-party system, with competition for votes, effectively presumes institutionalised criticism and dissent. Orderly and peaceful change in government is part of this. To reject questioning and dissidence implies rejecting that power can be questioned. To reject the latter suggests an unwillingness to cede power.
For a government to oppose change in government is to lead to a one-party state. Such states have great leaders and are festooned with their images. There such images are invested with a sacred quality with severe penalties for disrespect. Has Malaysia become such a place? Should we look less to liberal democracies for lessons on and models of critical art practice and instead look more to one-party states? Yet, last I checked, we are a parliamentary democracy, and questioning should therefore be an honoured practice and right.
Hail to the thief?
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YAY to ARTERI!
SETUJU!
Saya juga setuju.
Barangkali sudah tiba masanya saya, sebagai pengatur pameran ini, harus mencatatkan klarifikasi tentang pertanyaan EM. Akan saya catatkan balasan saya malam ini.
Sekian,
ED
fami reza pun pandai tulih surat? wakakakak
Just want to know… Is the PM’s print was the real piece that was vandalized from the billboard? Was the artist him self did it like the one shown in the youtube video?
I was meant to write a response to the removal of Fahmi Reza’s work. however, due to work, I didn’t get my act together.
It is very telling that the work was removed without consulting or negotiating with the artist. The gallery, as seen from the notes in the letter said that Fahmi couldn’t be contacted.
I’d like to share a very similar experience I had in vwfa. In 2000, Simryn Gill and I did a collaboration which made use of the despicable election advertisements by Barisan Nasional in local newspapers like the New Straits Times and Star. The work was accepted by the curator, and it was put up a day before the show opened. When I walked in to the opening, the work was removed and I was shocked.
I demanded an explanation from the gallery, and was informed by Valentine Willie that he had taken down the work, and also that the gallery tried to contact me but to no avail. The reason was that the images in the advertisements (which are public) were offensive, and that if these images had some “artistic” marks on them, then they could qualify as art. But as we decided that a series of the ads in a grid can say more than artists making unnecessary marks on the printed surface.
But now, it is this person pasquale, who claims that Fahmi’s work is “smut”, who is doing the aesthetic/moral policing. Reality is that it only takes 1 complaint by someone connected to VIPs to have art works taken down. Some years back, 1-2 complaints by public have caused plays to be stopped and banned as well…
such refreshing event after so many art shows…i believe that we, artists need to exercise and fight for our rights and enlighten others who so cunningly programming us to fit in whatever their plan/show/agenda is. we are not here to be judged, we are here for discussions, appreciation. yes, we will suffer the consequences but if we die, we die with honour engraved to our tombs…..pastu letak kat tugu negara ramai2 jatuh bertimpa…sob!sob!
Sorry this one took damn long to reply.
Yes, as the curator of the show, it was lacking in a more tighter scope towards the work.
Anyway…
My main idea behind the exhibition was to create some kinda of a buzz for everyone. Something that everyone could interact with. An exhibition that would get everyone up on their feet and have some sort of response! The theme ROCK was chosen was to really celebrate the idea of free spirit, just breaking free from everything, running away into your own reality and as if your in a rock concert/gig and just enjoying that intense energy. Hence, I chose the 5 artist to work with in this exhibition.
Callen Tham and Fairuz Sulaiman, are Visual Jockeys/New Media artist in profession. They mainly collaborate with Dj’s by having visual projections that sync with the music. Yes, they are not specifically rock music oriented but as artist, I felt that they had vision. I wanted to see someone from a completely different field produce works that would be just as exciting as what Fahmi Reza pulled off. Their, Analog Rigby, was a by product of them breaking away from modern technology. Stripping themselves away from their comfort zone of the digital world.
Vincent Leong was selected for a few reasons. One of which was for his very edgy attitude and I liked his ideas that is usually very “bebas” dari the normal painting scheme. His works from one to the other really does explore the different dimensions and possibilities – exploring different mediums to create art. But apart from his works, what drew my attention to him that would be perfect for the show was actually his conversation about watching The Cure (if not mistaken). For rock kaka, he really did fit the part. For this show, the direction of his work was to use sound as the main subject. His initial idea before the interview of local bands on the 3 iconic bands of the 90’s, was in fact a more crazy and interesting idea to work with at first. However, after further consideration with the gallery, that idea could have not followed through. None the less, his audio interview became an interesting documentation of the influence of Nevermind, Siamese Dreams and Bends on the lives of those who listen to them. For fudge sake, his t-shirt kena curik!
Now Fahmi Reza…
What the HELL Fahmi. Just to quote PJ Moothy and his break down of how to became the next HAPPENING artist. Fahmi Reza has always been a very talented artist even before he did his 10 Tahun Merdeka documentary. You aje tak cukup in tune to peredaran masa.
Anyway, Fahmi is heavily influenced from a very PUNK ROCK scene.
Back in the days, his works of designing posters and flyers for ngos, he had used elements influenced by street art to create stunning art works. I remember the time when we would go down to demonstrations and he would be building efigies for the processions. Fahmi has always been the kind of artist that would create spectacles to get people to react and be apart of the show.Through this exhibition, he created a viral video of stealing an image from a billboard and placing it in the gallery. By the end of the day, everyone seems to be asking for the truth. Was this act of vandalism really done? was is it him? is this the actual billboard? Well that’s where you the audience come in. If I were to spoon feed you the answer to this, the work would not work. There are details scattered everywhere on the youtube and in the gallery for you to find the answer. But I guess, with the PM head stuck on the wall, everyone was too busy talking about the wrong and the right of having the PM’s head stuck in the gallery that we have lost focus on actually looking for clues to the never ending question of IS IT REAL? Must everything you see or read be real? By knowing if the billboard piece was real or not, would it have a different impact for you?
So, all in all, the exhibition has been receiving a very good response. From both the positive and negative. The show was suppose to be head strong and I think that was what is did exactly.
John cricks/arteri,
why taken my photo without my permission? i ‘ m working as an installation assistant(job is follow instruction to hanging and unhang artwork) in the gallery,if you want to take the photo during i’m working and post to internet you should ask permission from me. if you respect me as an working class,and a human that have right from his own image,can you please take down and delete the photo. personally i feel embarrass.
why nobody respect working class worker? should art scene be more humanity?
Apologies, Ah Fei. No disrespect to the working class or you was intended. We weren’t aware that permission wasn’t given. The picture has been removed. Thank you for bringing this to our attention.
(YSL)
Hello Erna/Fahmi,
“we have lost focus on actually looking for clues to the never ending question of IS IT REAL? Must everything you see or read be real? By knowing if the billboard piece was real or not, would it have a different impact for you?”
From what a friend of the artist told me, I learnt at the opening that Fahmi’s work is in fact not a real hack of a real poster.
For the public who do not have such friends to reveal the truth, they may grow suspicious because the daily press made no coverage on this matter right? If it were, no journalist/ministry would could have let such a scandal gone quietly, especially when the director/artist has been associated with the gang that promotes Malaysia’s Communist history.
Another way to tell is if the artist was actually arrested or sued. I hope this doesn’t happen.Ever.
Instead, we have just some pro-PM bloggers making a simple complaint and the manager’s ‘logistical’ mistake and down the whole show goes. Maybe this was a soft rock show? :P
Normally I do not worry about the authenticity of art since one can always argue that the artist is ‘using lies to reveal the truth’.
In cases which relate to politics, I would say that the work can leave a very negative impact on the artist’s career as a documentery maker as well on other artists who may wish to make art for society.
If Fahmi wants his audience to take his documentaries seriously and believe in his position as an advocate for socialism(?), I suggest that he avoids making more sensationalist pseudo provocations (lol this coming from moi). I like his documentaries and it would be a pity if viewers or critics use this artwork as a way to cast doubts on the credibility of past/future works coming from him. They might ask: hey did he make any other sensationalist scenes? How real are the statements in his documentaries?
Since I think the public is already very skepticle of the daily press and politicians, and probably exhausted somewhat by the real/virtual dilemmas of new media, a socially orientated artist will find it difficult to gain their trust if more of such unnecessarily complex ‘is it fake/is it real’ stuff appears.
One should also be wary of capitalism amazing ability to subvert/hijack counter culture practices. Graffiti, viral videos, ad hacks, flash mobs are quickly turned from activists strategies into marketing tricks or tools for disinformation. The public who see any more of such ‘real/fake’ acts will be lost further inside the matrix.
Should things become as chaotic here as it is in Iran, people really need to find individuals or groups whom they can count on for good information. I hope there will be a lot of artists among them. For that, I think they’ll need to uh ‘keep it real’ somehow and tell the ‘simple truth’ when it comes to socially orientated art. If it’s art for art’s sake, all form of illusions are welcomed.
Had the hack been real, I think the poster of a public figure decapitated in a public area should have been allowed to just drop on the floor. Who knows, maybe the politician is actually well loved and it will be kept aside nicely?
Most people don’t know VWFA’s middle way methods and history of public outreach. They just see it as another borgeois Bangsar joint. As such they can easily brush the whole thing off as a smug middle/upper class audience’s fun private throphy or an artist who played a trick on the public while making an opportunistic claim to fame. We amongst friends know that it is surely not the case.
Right?
Daniel, why you so condescending towards “the public”? And also very naive view about ‘art for society’ artists. Alan Moore once said “Artists use lies to tell the truth. Yes, I created a lie. But because you believed it, you found something true about yourself.”
Hi Mel,
Can you explain the parts where I sound condescending and naive? Here am I thinking I am trying to see the work from the public’s point of view and I end up insulting them…hmmm how so ah?
Do you mean that the public can easily tell the difference between the fakeness of corporate and gahment controlled media content and the fakeness of certain artistic strategies?
Or that the audience who saw this work all knew straightaway that the work was faked? So by explaining the possible ways they can find out, I am being insulting?
Nice quote by the way!
doobeedoobeedoowop diskusi GO!GO!GO!