LIJA MARKUS

Conversations on Lack and Excess

Conversations

Lack and Excess. These two words came to mind as I recall attending a concluding lecture of a residency program; where it discusses how the Indonesian arts scene compare to its Singaporean counterpart. As with many others, the circumstances upon which the lecture was held; be it a panel discussion on how an art fair is marketed, or on the analysis of an artwork; seem to suggest that the art ecosystem of both countries have succumbed to a perpetuated stereotype which forms the basis of their identity. A queer aftertaste arises from discovering an extreme imbalance between the two; left intentionally to co-exist and interact from different extremes for the sake of maintaining distinctiveness. A frustration towards acceptance and content on the status quo, questioning how one exists in extreme lack and the other in abundance and excess; becomes the point of departure for this exhibition.

Conversations on Lack and Excess was intended as a test-site for alleged stereotypes and myths, to uncover the truth on whether uniqueness and distinction are dependent on unregulated imbalance. This show is not meant to disprove the differences of origin or visual inclinations that pertains to and affect the two art scenes to this day, but it is to question if the differences felt much by the artists, as well as to ask if it is valid to be satisfied with the way things function in the present.

Against my expectations, the artworks presented spoke about varied themes and discourses, executed in different scales and reaching different scopes; whether it be personal, local, or global. Many, did not directly deal with problems in the art scenes. I was mistaken to initially think that less militant artworks are sterile from the effect of the art scene or are ambivalent towards it; that a fruitful discussion and conclusion to such dialectics could not be derived from these works. A romanticized narrative of victimized artists before the institution would not help clear the perpetuated myth. Hence, the execution of this show in itself embodies the concept of this discourse.

Reaction: Subversion, Rebellion, Celebration.

When faced with their respective country’s socio-political circumstances, it is intriguing how some artists chose to be ambivalent and indirectly reflecting their immediate surrounding; while some others reacted in a more subversive manner; with a select view even expressing their thoughts in a rebellious way.

Gofan Muchtar's artworks, in particular, shy away from criticizing object fetishism, and the consumerist lifestyle of Indonesia’s urban populations. His artworks take the shape of endlessly shimmering chrome miniatures; purse, shoes, suits, lipstick, perfume bottles; all encased in an infinity-mirrored vitrine. Exhibited in this show, in particular, are objects displayed in a set of three vitrines, reminiscent to those depicted in a spiritual or religious painting. It is a triptych created in homage to present day spirituality and the spectacle; as a celebration of consumerism and materialism.  

Further, the artist mentioned that this celebratory attitude exudes an element of surprise. Based on his observations, artworks which concerns consumerist values and materialism have critical nature in general, and he chose to shy away from the smugness of that action. Looking at the current climate of the art industry and how art becomes a luxury commodity; it seems that the artist’s statement has some truth in it. Although there may be an alternate scenario where artworks need not fall into the ‘commodity ‘ category and are instead appreciated for its non-monetary values, within this alternative scenario, there would still be an air of irony that lingers.

White Square from Galih Adika is another example where artists celebrate the commonly criticized aspect of the local environment. Adika typically works with borrowed images from virtual media, images of fine arts he encounters online, mundane objects, and paint collaged into interactive paintings. Many of his previous works concern the transmutation of sentiments and meanings:  the virtual into the physical, tangible objects into ideas. For example, his last work entitled Dua Menit Simpan Muat (Packed in Two Minutes), questions the importance of the physical object after its meaning was archived in the form of drawing and photographic.

The series of works presented in this show, on the contrary, brings visual encounters on online platforms and display them in physical form for the audience to encounter. Galih hoards images from the internet, then limits his process of paintings to it as some a form of scientific control. Instead of starting with a sketch, the artist begins with borrowed virtual images which are rematerialized into an object of art. This seems like an attempt to reverse the effect of demystification of artworks; as images are reproduced digitally and circulated online. Galih acknowledges the ready-made culture as part of Indonesian localism in his version; as apparent in the artworks he presented in this show. Further, Galih’s piece is an homage to the ever-feverish art world; at a time where copyright holds no power, where image-borrowing is the norm, and where the artistically inclined inhabitants and their creations thrive with resilience.

On the other side of the spectrum, Nature views her work as an active effort to have courage to explore outside the constructed social convention built up from years of going through the Singapore education system. Her version of a locally shared sensibility reflects how most of the artists are subject to a utilitarian, rigid, and compartmentalized curriculum; characteristics which also exists in the art education system. Having graduated from one of said institutions, the artist senses a specific reservation when it comes to creating; not based on their concerns as an artist, but instead on what could get them 'far,‘ career-wise. Upon completing her studies, Nature finds herself stuck in the same mindset of having to please everyone, which puzzles her as she is no longer part of an art educational institution. Though not intended to be a direct critic towards the institution, it appears that her stance was not in any way celebratory. In this series of work, Nature collaged a selection of artworks retrieved from pieces of previously rejected works.

Nature and Galih’s works both seem to have shared a similar visual sensibility; namely the collage and layering method, visual quotations, and the visual representation of internal values. Nature’s work and her choice of material, however, presents a different attitude through the presentation of self-rejected proposals and externally edited works from the past.

As opposed to Galih’s revival of mundane images, Nature de-sanctifies her previous artworks by turning it back into an object. She deconstructs its raw materials and rebuilds them as a way to rid oneself of remaining sentiments. Through this process, she reevaluates her art making approach. Is it perhaps just possessing the value as mundane as a school exercise book? A routine created to habituate oneself in following a provided brief?

By ‘readapting her past works and presenting it under a new context, she is reclaiming the artwork as independent in its own right. A subversion against the institution's excess control, through detouring one's artworks.   

Zero challenges the institution through an encounter on the physical site. While disagreeing with the institutionalization and regulation of graffiti as a subversive art form, Zero is not critical towards the self-preservation attitude held by most graffiti artists. Street art in the definition of New York 60's does not exist in Singapore, but Zero feels that graffiti was able to retain some of its initial sensibilities compared to other mediums of street art. Unlike other forms of street art where site specificity plays an important role, the best canvas for a graffiti artist is everywhere, so long as it is visible. Graffiti art’s essences and messages are ingrained in its medium of choice, spray paint. It is an ouroboros- maybe 'chicken and the egg' phenomenon on how the sound, the action of spraying, the industrial, makeshift, and hasty nature of spray paint oozes rawness; contributing to the work’s violent and anarchistic image. This, in turn, perpetuates spray paint with its current symbolic status.

This lack of bond; both to a specific location or message has turned graffiti into an existential movement. Subversion against the state comes from the simple declaration of self-existence; as shown in tagging and the famous catchphrase ‘Kilroy Was Here.’ Therefore, it was almost an honor; the act of its removal by the institution a justification to the graffiti artist, that the simple abjectness of one’s existence was deemed enough of a threat towards the institution and its authority.

Site Specific Tunes

Expressing localism in a Singaporean context is the lack of having a specific one, but that phenomenon also means that Singaporean localism is not site-bound but what you identify with, and what you are exposed with. Warung Kopi DKI a comedic troop from Indonesia, Iklim band from Malaysia, Ada Apa Dengan Cinta a romantic movie from Indonesia, TV series, music, and other Southeast Asian mass cultures is as local for some Singaporeans as Singaporean-produced ones. In the arts, the inspiration for the local movement is, geographically, not local. Cheong Soo Pieng, for instance, found and honed his distinct style after a residency in Bali, as did Liu Kang and his encounter with Indian performers.

Similarly Zero credits the South East Asian street art scene, especially the Indonesian and Malaysia scene as the influencing factors to his artistic development. Zero interprets site-specificity, not regarding the original location of the artwork, but instead wherever an act of removal or excess control was exercised. Around 2009, Extensive clean up was done on the streets of Singapore due to Singapore hosting bigger international events such as F1 and the Youth Olympic Games. The legal graffiti wall in the skatepark became more controlled when a group of artists decided to paint a wall dedicated to the women of children of Gaza in Palestine. A similar incident happened in 2006. As a response, Zero challenges this act of removal with his own action of removal. In 2017, he removed pieces of legal graffiti walls with the nine years-worth of paint layers on them, displaced them, and encased them back into cement. Further development includes attempts to revive the muffled voices of disobedience and individualism. The layers of said walls were cut into thin strips and bent into a circular form; exposing the grooves created by its layers, reminiscent to a vinyl record or growth rings on a tree. The cracks between the acrylic and solvent-based paints produce a broken, violent, and honest raw visual, where audiences would then be invited to listen in and revive the silenced voices, by moving a contact mike or a stylus of a record player across the surface of the layers of paint.

In the early stages of discussion on the show, Etza also introduces the element of site specificity into her proposed work. A patina painting with rusty and acid-washed finish would portray abandoned sites around the city, left and forgotten as a frozen relic in a restlessly developing city. Through the work, a heart-warming sense of nostalgia was juxtaposed with the otherwise somber reality of human alienation in the Indonesian metropolis. The material and method chosen for this proposed work match the same sensibility. Ezra was able to see past the association of rust and chemical corrosion with decay and negligence and instead transforming it into vibrant colors, creating astonishing details in a dreamlike, surrealistic composition.

A proficient composer and musician; incorporating audio elements into her works thus come naturally. Etza transforms the spaces in her work into musical tunes through geometrical algorithm where Etza renders both immaterial forces and organic objects into a grid with an X and Y axis. The coordinates of the now geometricized drawings were then converted into specific notes. Alternatively, Etza transforms the visual elements to aural, material to immaterial by composing a companion sound piece for every site she encounters and renders in those bronze plates.

As the piece progresses, the definition of ‘local’ in Etza’s work broadens. The spaces her works portray are no longer limited to those in Indonesia but also Iceland, where she once joined an artist residency programme. When pursued with the question if she feels inclined or instead trapped into the local stereotype, she reveals that the ‘Western Laboratory’ or Bandung style, did contribute to her visuals and conceptual process, but not because the institution implements it. She feels that ‘Western Laboratory’ values such as globalism and residencies did align with her stance. Furthermore, although she was trained under the highly technical Germany education style, those aspects did not hinder the implementation of eastern sensibilities in her works. Both Iqra:Baca: Diri, 2015, and How Does It Feel? (To be a Refugee), 2017, for instance, places the community as the heart of both pieces.  

Poetry in Material Uncertainty

Although the technique of patination has been done as a way to protect metal surfaces in sculptural arts, Ezra uses the process more as a pseudo-scientific experiment. The method garners a raw and natural finish, almost as if the tarnish was a result of encounters with the environment. The element of surprise lies in how the chemical reaction highlights the distinction between mechanized production and an artist’s handiwork. Likewise, Etza’s work also sheds light on how the coordinate translated into musical notes was not controlled to create the desired sound, but instead, to let the random points of contact form the composition.

Similarly, as a process painter Jay Ho perseveres in material uncertainty. Inspired by existentialist thoughts, Jay emphasizes on creating as means to constitute freedom and individualism. His works often consist of layers, done over a period of several time spans. Similar to Nature’s artwork, Jay also repurposes and recontextualizes past works. Though, unlike Nature’s sentimental self-reclamation, Jay executes the process in a more pragmatic manner. The usage of past works show a tendency to self-edit and self-curate, but it was not done for the sake of perfectionism or assurance of aesthetic betterment.  He believes that the act of doing and its infinite possibilities unfold when one does not stay still.

Other than the unpredictability of irreversibly altering your works, Jay maximizes the significance of chance by modifying a traditionally exact technique and medium into a game of gamble. In his previous series, Jay etches marks of archaic drawings and celestial symbols into a foam board and printed it with water-based paint. Due to the raw treatment of the pigment and the printing surface, these create random noises on the canvas. A proper resin compound will cure in one day on average, but using the altered method, Jay’s work on water-based paint could take up to one - two weeks to cure. The element of chance and the uncertainty of material was a reflection of the infiniteness of nature. The artist took the position of minute humankind standing before the grand absurd way of life and find beauty from what ‘chance’ have ambivalently granted them.

Differing Views on Drills and Self-Discipline

In Jay’s case, surrendering oneself to the unpredictability presented by process painting was not a favorable choice. His current works Orion I, II, and III, arecreated with oil-based paint took more than three months for the artworks to cure. Further, Jay is currently serving the military conscription and is unable to observe or work on his paintings regularly. This makes his process even more like a statement than it is before. When misjudgment happens in altering the piece or pouring the resin, he is unable to witness, prevent, and change the process of the medium. Jay discipline himself to persevere in civil disobedience by not conforming into society ideals that worship certainty of results.

Vanessa questions values like the need for certainty of result, or a specific and narrow definition of discipline and diligence in her works. A very Sisyphean action of constantly moving without actually advancing spatially is apparent in sports equipment, track fields, sports courts, and pools, which Vanesa references in her works. The series shown in this show use swimming pools as its point of departure. Pools are designed for its user to swim up and down laps in a confined space. The idea of inflicting oneself with the discipline to move a specific measure of distance in constant monotonous steadiness is absurd and unusual, but somehow we associate it as a constructive act of bettering oneself. Using architectural scale models, miniature humans, shrubs, and furniture, Vanessa constructs an alternative design and scenes of pools and other bodies of water. They are reminiscent of how architectural dioramas contains some subtle narrative inside, of how we should be acting in those designed spaces.

Recontextualized into the show, Vanessa finds that her works might be a parable of the manner we practice art in Singapore. In many aspects of the art scene, art practitioners in Singapore are expected to meet a particular KPI and other self-persevering reality. Those aspects, become the measure of discipline and diligence in practicing art. Similar concerns are found in Nature’s and Zero’s works. Institutionally enforced diligence poses a question and unease, whether the art produced within the system is still a form of self-expression or whether it has turned into some absurd drill. Adversely, the self-imposed diligence in practicing art which personally targets a better way of self-expression seems to be a pointless and useless act when one exists within a system. Why do we still persevere in art where there is no assurance of success and leaves a tiny chance to make an impact?

Interestingly, Prajna also mentions a precise form of discipline which exists in her works. For her, self-discipline and integrity in artistic practice are not to fulfill a quantitative target, but to keep true to the values central to one’s soul. Looking up to the phrase that her mentor Idang Rasjidi once said ‘’Hope and perseverance are the foundation of what we call life or even faith’’. Prajna perseveres in faith and relies on the Brahman within her; as opposed to entirely relying on logic. Discipline for Prajna is to persist in justice and truth, to persist in Dharma.

Prajna expresses the persistence in justice through the story of Draupadi Vastraharan (Draupadi Disrobed) which would lead to the outbreak of Baratayuda war. The five Pandavas lost a bet against the Kauravas, and Draupadi was publicly disrobed by Dursasana when she tried to appeal to the court. Krishna came after her call for help, elongating Draupadi’s saree cloth into an infinite length, where Dursasana pulled, more appears. This chapter expresses the chaotic situation when Dharma, symbolized by the Pandavas and Draupadi, consumed by Adharma, symbolized by the Kauravas.

This body of work is a representation of Prajna’s life journey through repentance, struggles in keeping faithful, and experience of spiritual reality. This process is encapsulated into her current series of artworks. The female figures in her paintings pose with a sense of resistance; clothed in mesmerizing renderings of silk. Her choice of technique is a conceptual one, as she often prefers to include chiaroscuro in the grisaille layer to express the dynamic between Dharma and Adharma; a narrative which is predetermined in everyone’s life. The color glazing was the freedom of what we would and could, as individuals, make out of the constant tension between Dharma and Adharma; one which happens beyond our control.

When questioned whether or not her choice of technique was an active act of rebellion towards the instilled and perpetuated style of Bandung School, she reveals that the act of categorizing the styles itself was part of the general misconception. Bandung is not unaffected by narrative and representational inclinations. Prajna found no obligation to conform to the mainstream stylistic conventions of the local scene in her art. For her, the artwork does not exist to pursue an aesthetic statement or sole beauty, but rather a persistent and constant pilgrim of faith and self-discovery.

Self Before the Scene

Forrest Wong delivers a very fitting and conclusive piece; his background contributes a neutral yet relatable point of view for this show. In his previous work, Still Life 2, Forrest expresses the lethargy he experiences after visiting the ever-lively art events in Yogyakarta; a darker side of the art scene rarely talked about. In this work he questions the genuinity behind the act of visiting art events and how much is it a form of support towards the arts as compared to means of fulfilling social obligations. Adversely, it also questions whether the artworks shown in said events are still a genuine form of self-expression rather than a sweet commodity for the audiences to indulge in.

For this exhibition, Forrest created a piece titled KISS_MoneY_ArtSS, where he questions the balance between his love and passion for the arts, the physical reality of sustaining a living, and the financial reality of the market. This two-part interactive performance and installation is a parable to the art scene he lives in. In the first part of this performance, Forrest will mark each piece of a roll of toilet paper with lipstick kisses, and his co-performer Deidra Mesayu will then pick 52 squares to be titled, numbered, and displayed on one side of the wall. 52 or 520 as a homophone to the word 我爱你 or I love you in Mandarin. This action symbolizes how each work an artist created is done with passion and love, but only a select few would be disclosed, or chosen to be shown to the public. The artist, questions his motives behind creating art when it turns into a habitual and absurd act. Does the first kiss hold the same love as the 520th one?

Audiences are then invited to fill up a form related to aspects of the artworks, and seal it with a lipstick kiss. Kissing, according to the artist, is an approval and deep, genuine emotional connection, bridged by a physical act. Deidra will then exchange the selected kisses and give it to the participating audience, displaying the kissed form in the now vacant space. Just as viewers or potential buyers are welcomed to reciprocate the love by giving love back through the act of buying pieces that are relatable to them. The artist voluntarily took a  vulnerable position and throw a very personal question to the public. The reply is no longer the main concern of the artist, so long that the audiences have brought back a piece of self-interrogation within themselves.

Despite the wholesome takeaway of the work, I could not hold a cynical sneer. After All, Judas did kiss Jesus, didn’t he?

Overlapping Sensibilities

Lastly, to conclude this writing, I would like to address that there is still plenty of overlapping themes and sentiments beyond what has been written. For example, the material-immaterial transformation in Zero and Nature’s oeuvres are also strongly apparent in Etza and Galih’s pieces. Etza’s juxtaposition between the decaying forgotten sites and a nostalgic wander shares the same celebratory attitude with Gofan’s pieces. Art as a commodity, and scene as the market was a theme in both Galih and Forrest’s oeuvre. How both Prajna, and Jay's works talk about the minuteness of man before the Grand Narrative of life. Nature, Vanessa, and Forrest questions meaning behind the habitual aspect of practicing art. Talking and working with these artists sparked a hypothesis that could be the temporary answer to the questions posed by this exhibition. The stereotype might not be completely wrong, and there are specific conditions which create the characteristic of these two art scenes, but that does not mean that it is the only side of the art scene we should be concerned about. As apparent in this show, there are more in-depth details, issues with parallel importance between artists from the two countries, or the salient point within the local scene itself. To genuinely seek the meaning behind each work, created from the unique path chosen by the artists that should not be written off as just a local tendency.