WANTED: Someone to restore Arteri and give it 2nd life. Interested? Email: mail.sharonchin.com
by Yusuf Martin
Rhythm of the 21st Century -Monologues of Raja Shahriman
Galeri Petronas, KLCC
29th October 2009 to 24th January 2010.
Galeri Petronas, at KLCC, is currently (at the time of writing) holding an extensive exhibition of Raja Shahriman b Raja Aziddin’s more recent work, including the paintings and sketches which help form a body of knowledge regarding his contemporary dynamic black metal sculptures.
The gallery visitor will see that Raja Shahriman’s sublimely martial black painted metal sculptures, in their concreteness, exist somewhere between the German H.R.Giger’s alien grotesques and those mythological sculptures of the British artist Michael Ayrton. It is between the menace of Giger’s fantasy grotesques and the forceful beauty of Ayrton’s mythological sculptures that Shahriman’s figures are allowed to exist, beautiful, but deadly, bullet bandoliered, starkly creatures of violence and destruction, extant in a poignant anti-war epiphany.
Yet Raja Shahriman’s forms, differing from those of H. R. Giger, replete with cartridge belt spines and masks, which render them terrifyingly anonymous, seem to represent, more accurately, the frighteningly vicious nature of man, against man, in brutal warfare. And, although Raja Shahriman’s constructs, to some extent, bear a mythos and a weight similar to those of Michael Ayrton – Ayrton’s minotaurs, or figures of Daedalus, show a gravitas and groundedness not apparent in those of Raja Shahriman, where cold steel is twisted to depict nightmarish warriors of evil.
There is an undeniable uncanny grace to Raja Shahriman’s sculptures’ lethal poses. At times, they appear as ferocious manga ninja, frozen in violent combative acts, twisted black metal shards and spikes piercing into the visitor’s subconscious, bringing, perhaps, the minutest of shivers down spines composed not of braces of bullets, as are those of Raja Shahriman’s figures, but of fragile flesh and bone. At other times, those figures resemble warmongering metal automatons; contemporary Robocops; Star Wars Battle Droids or bizarre metal skeletons, constructed perhaps by Ray Harryhausen for some, yet, unmade film.
The obvious strength of the sculptures, their hard metal musculature, their surreal/art noveau curvatures, poise, bandoliers of bullets all combine to impose their obviously martial nightmare imagery onto the innocently unsuspecting audience, with great success.
While the actual weighty metal sculptures stand, rooted to their plinths, the interplay of gallery lighting throws (Jungian?) shadows onto the gallery floor, and across grey painted walls. They are impossible to miss. A discerning visitor might get the feeling that is where the real story lies, not with posed metal, but with stark, projected, contorted shadows.
Creative shadows cast from Raja Shahriman’s commanding sculptures, born literally of light and dark, creep as dark figures rising from Disney’s Night on Bald Mountain (Fantasia 1940), or Ring Wraiths from Ralph Bakshi’s animated Lord of the Rings (1978).
In Disney’s Night on Bald Mountain, a huge dark-winged figure rises from the mighty mountain, spreading shadow over a sleeping village, drawing souls into Hell. Once there, silhouetted figures cavort, dance until the winged figure gathers them up, once more, and then casts them down, into Erté-like smoke and Faust-like furnaces.
Raja Shahriman’s shadows give the appearance of cavorting, dancing, twisting, curling, bending to reveal the archetypal black soul of war mongering sculptures. A slightest movement of light, a tremor, shudder, has shadows squirming, shifting, and moving across the gallery, shape shifting in their own repressed delight of nascent evil.
Wandering the Galeri Petronas there is the shadow of the object – Wira Perkasa (Brave Hero), creeping, peeping over its plinth, seemingly ready to make an attack on the hero who stands profound, unaware that his legacy of violence forever ties him to the shadow, and to his spine of war. Then, again, with Kancah Kashmir (Kashmir’s Arena) (2008), but this time three subconscious shadows break out into the gallery, unnervingly piercing, thrusting towards the other plinths, stealthily feeling their dark way towards them, but, then, also towards the innocent visitor, writhing in some deathly surreal dance towards them.
Observing the dark of the shadows springing from objects they had once been bound to, is thrilling, but unnerving. The gallery dances to a very different dynamic. Objects posed for visitors while shadows free themselves to challenge, question and, ultimately like the gladiators they undoubtedly are, fight in the new arena of Galeri Petronas.
Like vicious wayang kulit (traditional shadow play puppets) rhino- horned shadows, thrown against grey walls, pierce into the gallery. Others stab, cutting into the space between plinths, between walls, floors and visitors – nowhere seems safe from the forms, formed from fractious footcandles of light.
Gejolak Api (Fire’s big flames) and Maharajalela (Rampage) stand, opposing each to the other in one small offshoot from the main gallery. Sculptural Daliesque hands/arms extend, one challenging figure towards the other, twisted shadows displaying root/tendril-like curvatures thrusting writhing towards each other.
A startled gallery visitor, seeing the combative challenge might expect an engagement at any moment, and the spewing of black metal amidst the dark gallery flames, yes; it was to come, but only in our enriched imaginations.
Further around the gallery, with some nameless victory won – the figure Panji Hitam (Black Flag) mightily raises a flag to strike into its own wooden plinth, no doubt symbolising an ending of warfare, its bandolier of bullets, so pronounced in the figures of others throughout the gallery, absent.
The formerly repressed shadow of Panji Hitam , however, reveals that the flag is no full stop to conflict. It is simply another weapon, for the blackness is throughout, regardless now, of whether there are, or are not bullets, for now any weapon will do, as the formerly repressed shadow becomes liberated. For humanity, long suckled on war and violence has become addicted to the trill, the power and, ultimately – the mayhem.
Raja Shahriman b Raja Aziddin’s work, exhibited at Galeri Petronas is a triumph, not just in the creation of the works themselves, but also in the craft of their display. It is the carefully considered display of these sculptures, especially, which enhances the poignancy of the works, with deftly placed lighting, which adds the extra dimension and final touches to the overall exhibition, and reveals the soul of Raja Shahriman’s works.
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More reviews and pics can be found in the links below:
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Wa Liew eh
abit refreshin la, this write up as opposed to the angry comments, but then ah, this Shahriman’s work really not deserving so many article and debate and not worth of so many commenting about his work leh.
How many good art exhibition arteri dah missing their opening. all also more interesting than shahriman leh.
Hello there Kiew Heng,
If you’ve been following our previous editorials, published last month, you might have an idea of how ARTERI operates. Mainly, we are a blog and it is largely contributor generated. As such, whether Shahriman’s work deserves this many articles or not is not an editorial policy. It depends on how many people decide to write about his work and we maintain, as stated in our About Us page, that we maintain a non-hierarchical approach to what is published on the site.
If you think that there are many good art exhibitions deserved to be written about that has thus far not appear on ARTERI, please help us cover them in the future. We are not a webzine, please do not expect us to cover the scene extensively.
Moreover, as tapped into the art scene as we are, clearly we are prejudiced by our personal tastes, and I am personally really not keen on writing about ‘interesting’ exhibitions that don’t interest me at all. So it helps if more readers are happy to step up as contributors and share with us their interests and views. Different contributors=different views. Looking forward to your contribution :)
Best wishes.
Yusof Sir,
“There is an undeniable uncanny grace to Raja Shahriman’s sculptures’ lethal poses.”
Seriously? @_@ Uncanny…even tin cans have better aesthetics.
You consider the works to be graceful? OMG. It must have been too dark in there. Did you notice how horribly thick each composite metal piece were? The metal foldings looks too forced and amaturish. One never really gets the sense that he was in control most of the time. I bet most sketches were done after slapping his junk bots together.
Oh, didn’t you notice how incredibly brutishly ugly each of the bullets were? Please upload a close up photo, let the readers judge instead of piling up so much hypertext references to hide what is so obviously a huge flop show.
There’s no grace in their pose either sir. They look like suicide bombers making a mad run.
“A discerning visitor might get the feeling that is where the real story lies, not with posed metal, but with stark, projected, contorted shadows.”
This is funny. Go back here. Look at the shadows
/2009/11/12/opening-rhythm-of-the-21st-century/
How could the shadow be the real show?
Notice how the plint raises so many pieces up to eye level? It’s so that your eyes observe how horribly crude the metallic midget freaks are.
Furhermore, the spot light appears to have been adjusted to cancel out visible shadows on the padestal itself.
Thus most of the amazing shadows you say exists on the floor. With the pieces so high above , the shadows are cropped and distorted. Look how some appear like silly krazy Jack-in-da-box puppets popping out (pic 3).
If the shadows are really so amazing, will this show be dedicated to Shahriman teh sculptor or the dude who adjusted the spotlights? Even if Shahriman adjusted the lights himself, will he go around house by house to adjust the lights shining on a sold work?
And to say that it is only ‘discerning’ viewers who would see this effect, you are just being a snob.
If the artist had wanted the international malling elite public to appreciate the shadows, he’ll remove the paintings on the wall, remove the plints and padestals, make the floor is white, and have the curator make sure Mahathir looks at the floor or the wall most of the time.
But obviously you can’t have them on the floor, it’ll be really a hoot seeing midget size wannabe transformers bots running around.
“triumph”?
Sir, i fear you may be giving critism a bad name with your forced review. Throw your skills and support to a more deserving artist. Please?
Thanks for reading my crude but sincere words.
:):(
‘goatse’ normally I would refuse to reply to people too cowardly to use their real names, however, just for you, I will.
There is a little truism which states that beauty is in the eye of the beholder, and without a doubt you and I obviously see very differently.
While I prefer to see the beauty in things natural and made, you seemingly, prefer to tear things down and reduce things to your own level.
Maybe this is a product of being an angry youth, ranting rather than discussing, caught in angst not knowing which way up hormones are.
I am not certain why you would want to launch a personal attack on me by calling me a snob, you who hide behind an animal name. If you object to my writing just say so, but you have no right to make a personal attack.
Unfortunately, from half way down your little attack, on the sculptor, the work, the gallery and me, you become so incoherent that your word rojak barely makes sense.
Which is a pity because you obviously have something to say, but you have let your own personal prejudices and emotions interfere with your writing.
Take a deep breathe and try again, and remember that we are all deserving of respect rather than tirade.
Yusuf
The editors hope that this comment tread will not devolve into a forum for personal attacks. Actions will be taken if need be. Discussions should focus on the artwork and if discussion is leveled against the critique, please do not resort to name-calling. Your cooperation is greatly appreciated.
Yes: as one of the Editors of the site, I want to stress that ARTERI is an open platform and we support all contributions to further diversify the opinions and views within the art scene. We welcome critical debate on our posts but want to avoid mud slinging ok? It is these clearly and intelligently articulated disagreements and different posts that make everything so interesting, the rest just turns into a soap opera, which we are not.
So if you want to see different things on the site please submit your work to us! We are happy to post pretty much everything but as Simon and our editorials mention we can’t do everything and need outside help to keep our content varied!
All good things people
Eva
Yusof Sir + Arteri
Using nicks and trolling is just part of the nature of the internet. Chill out. Don’t panic. Are Malaysians really all so sensitive?
There are two sections of your review which I found too contrived:
– the sculptures are ‘graceful’
– the shadows is where the primary beauty to be found
Please reply to these criticism instead of being so sensitive to being called a snob. It was only because you had implied yourself to be the ‘discerning viewer’ who could see the ‘real’ beauty while ‘normal’ visitors could not.
Given the public setting, it would have been in the interest of the curator and artist to properly highlight the shadows so that anyone could see. Why make is so difficult?
Instead of using ye’old ‘art is subjective’ defence, I’ve given you objective reasons why I cannot support your positive praises. Here it is again minus my hormones:
– look at the photos in the link, shadows are minimized on the padestal
– what is found on the floor are cropped and fragmented
– given how wide some padestals are, the shadow gives the effect of figures popping out from boxes
– the walls are displayed with paintings and sketches, thus distracting interest from the shadows
– the artist would have had to fix the entire lighting of the exhibition to properly attribute this positive aspect to him. Otherwise, the installation worker would be the real genius.
– oh here’s another point, if shadows were so important, wouldn’t it be more appropriate for the metal to be painted in a light colour to allow for more varied tones?
Regardless of what you think of people who use nicks online, or give objective criticisms, could you respond to the points above? Thanks
well… come to think about it, snob might have been to heavy a word to use. Sorry Yusof sir!
Eversince the old staffs were forced out of galeri petronas, the exhibitions have become worse and worse. this is clear example of how our national politics have interfered and watered down culture. I wish petronas would stop being so bloody spineless and visionless. an example, during the Ahmad zakii’s exhibition last year,I even heard rumors about the conservative group within petronas complaining that Zakii’s charcoal portraits of Indians is in reference to hindraf, appealing of course to the powers that be. I say, let those who know run the show!
I stand by my writing. I should like to add that I use – discerning, to mean – able to make or detect effects of great subtlety; sensitive; “discerning taste”; “a discerning eye for color.” I do not believe that is at all snobbish, but experienced.
Goatse – have you actually been to see the exhibition? Instead of just looking at images on the internet! Because if you have, then I have no idea why you could not see the shadows which, when I went, were so obvious.
Further, as an exhibition curator/co-ordinator myself I have always have worked with the ‘artist’ and objects to produce the most significant display.
It is a truism that we learn to see, not just with our eyes, but with our mind.
Please take a look at
http://www.google.com.my/#q=subjective+reality+art+history&hl=en&sa=G&tbs=tl:1&tbo=u&ei=tLwVS7OFKIuC7QOe2unEBA&oi=timeline_result&ct=title&resnum=11&ved=0CCgQ5wIwCg&fp=3c7d6992ca11d7ba
Mary Anne Staniszewski – Believing is Seeing
John Berger – Ways of Seeing
http://www.surrealismcentre.ac.uk/papersofsurrealism/journal2/acrobat_files/buck_morss_article.pdf
for a start
Thanks for links! Si sir I saw exhibition. I generally do not comment on things I’ve not seen personally. I use photos as empirical evidence so that you and others may make a more objective opinion. Such attempts at objectivity may be impossible in the end but attempts must be made for the sake of making consensus at what constitute national culture. As a whole, SHahriman is a tokoh but this show was really dissapointing.
I could say that you are incredibly sensitive to such subtle beauties and it’s good that you want to make others aware of it but the artist can’t really be commended for making beautiful shadows unless some for of intentionality can be proven.
I’ve not read the wall text or catalogue I’d admit that. Does it mention anywhere the artist manipulating the shadows for maximal effect. If so, would each piece be sold with specific lighting arrangements?
I never read other people’s opinions on work I chose to review, for fear that those opinions might influence my own.
So no, sorry I have not read the catalogue, nor the text on the leaflet.
The catalogue is far too over priced, that is one criticism I will make of the exhibition.
I am glad that you saw it. But cannot understand how you missed the prominence of the shadows.
Check out here for more info on shariman’s latest artwork review!
http://www.visualcrackers.com
Thank you Ituini for that link – and the quote from my favourite philosopher Maurice Merleau-Ponty