⏊IWE

16 Mar 2024 - 26 May 2024

Kah Bee Chow, Hasanul Isyraf Idris, Nurul Ain binti Nor Halim and Wong Hoy Cheong

Curated by Christina Li

Exhibition Guide: View Here

 

⏊IWE made Artforum’s Top Ten of 2024, selected by Hung Duong.

[Read More Here]

Like cities, time is not static. It can stay still, advance, and disintegrate alongside its inhabitants. There are pockets that move slower, others that make speedy headways; some are stuck, as if caught in traffic or a crumbling façade left to weather time’s progression. On the main thoroughfare of Bukit Mertajam,  past the outmoded barbershops, watch sellers and sundry stores, was an inconspicuous clothing store. There hung a T-shirt with a perplexing jumble of alphabets, like a prompt asking, “What is the flipside of time?”

RE: Looking

Wong Hoy Cheong

2003

Video Installation

30 minutes 42 seconds

First shown in the Venice Biennale, Wong Hoy Cheong’s now seminal work, RE: Looking explores the slippery threshold between fact and fiction in this mockumentary that imagines an inverted past where Malaysia, a former colonial power has to come to terms with the its Austrian subjects and its post-colonial condition. Meticulously constructed with found material but with a fictional twist in a once familiar narrative, this topsy turvy portrayal of Malaysia’s 250-year rule over Austria in a BBC-style investigative TV program from make-believe MBC (Malaysian Broadcasting Corporation) borrows, and in turn critiques the mechanisms of art and media, and how representation can distort and manipulate the way we perceive our past and present. The reconstructed living room setting adds a layer of disconcertion, inviting visitors into this unsettling liminal space where the dynamics around hegemony, global migration, race and class is radically recast in a new light.

Hasanul’s new evocative series Nightjar is inspired by his nocturnal walks. They are conceived as a response to reclaim a body desensitized from the onslaught of visual, mental, and internal noises inherent within our fast-paced contemporary life and the urban environment. Through this daily practice of walking, the artist is compelled to thoroughly embrace every sensation and emotion in minute detail. These walks are pockets of contemplation that removes him from the demanding cacophony and extends time that otherwise flies by. In this delicate timezone that Hasanul has reclaimed for himself, is a profound moment of discovery for his surroundings and himself where he feels at home in his own time and space.

The artist writes, “During these long nights of walking my vision gets thinner. My olfactory senses heighten, and I can smell the scent of flowers that are released only at night to attract pollinators such as bats and moths. It sometimes crosses my mind that these trees could be as old as my father. It transports me to another world, in which I bathe in the stars and feel their seeming motion; I watch the moon change its colour each night or catch a glimpse of what might be a shooting star and hearing the occasional nightjar. Silence can be an abstract concept whereas walking is clearly an action. Night walking distances me from the distraction of everyday life and acts as a purifier that sanctify me and pushes me to navigate without the help of applications and give in to the feeling of being lost.”

Dust and Smoke, Skin of Water

Hasanul Isyraf Idris

2024

Ink, watercolor, and guoache on cotton paper

30 x 21 cm each

Foxfire

Hasanul Isyraf Idris

2024

Ink, watercolor, and guoache on cotton paper

30 x 21 cm

Kisah Sekali (Once Tales)

Nurul Ain binti Nor Halim

2024

12 ash paintings

13.5×19 centimeters each

Using leftover ash from her pottery works, Ain’s suite of paintings capture tales that has long been passed on orally throughout her family. The phantom figures and other-worldly scenes outlined on these miniature works on paper, some cautionary tales, others curious occurrences, serve as fleeting records before the ash markings dissipate with time’s passing.

Placed in the storage area of Blank Canvas is an intimate video that draws from our quotidian experiences, as well as our evolving relationship to family and, in this case, to our mothers. Curator Wong Bing Hao describes the work: “Chow records her mother arranging flowers in their family home in Penang, Malaysia, while watching a melodramatic Malaysian or Singaporean Chinese television show. The majority of the frame is restlessly vacant, as Chow’s mother occupies the left background throughout the video. Chow’s father makes a brief cameo.

About halfway through the 14-minute-long digital video, Chow’s mother starts to pay close attention to a tense exchange between a disgraced daughter who begs her reluctant father to be taken back into the family fold. Viewers never see the television content itself, only the silence that transpires between the artist and her mother. A moment, perhaps, of tacit appreciation. In a glass partition behind Chow’s mother, momentary reflections of the television’s shutter-like brightness can be glimpsed.”2 As the viewers witness Chow’s mother arranging flowers in real time, one is reminded on the familiar and uncanny, the eventful and mundane moments, all of which constitute how we find belonging in an ever-changing world.

Effeminacy

Kah Bee Chow

2012

Digital Video

14 minutes 5 seconds

Dialogue with the Artist

22 March 2024, Friday, 6:00pm

Moderator:
Christina Li

Panelists:
Kah Bee Chow
Ain
Wong Hoy Cheong

Full Dialogue: Watch Here

Nightjar - Nightwalks with Hasanul Isyraf Idris

20 April 2024, Saturday & 24 April 2024, Wednesday, 8:30pm – 10:00pm

A guided night walk led by artist Hasanul Isyraf Idris through the USM campus, exploring the sights, sounds, and sensations of the nocturnal environment. The walk offers a glimpse into the flora and fauna that inspire Hasanul’s detailed and imaginative visual worlds, providing insight into the elements that inform his painting practice.