The Vegetarian Cooking Show by Munkao
Video by Malaysiakini
Video by Malaysiakini
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'Best-nye...' - Cik Rogaiyah, Kritik dan Kurator
ARTERI is delighted to present a once in a lifetime opportunity to catch the Best Art Show in the Univers. The exhibition highlights three of Malaysia's most exciting and deranged young talents - Chi Too, Dill Malik and Mun Kao.
Conceived as an irreverent and humorous assault and affront on the delicate good taste of the Malaysian art world, the show brings together three overly sensitive creative souls who hope to impart light and truth through the incestuous amplification of their intellectually stimulating artworks.
Be prepared to experience the most intense, electrifying, life-changing, soul-satisfying, cerebrally-engaging exhibition ever put together in our universe as these artists present new works in video, photography, performance, installation, painting and many other mediums.
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Anchored Configurations of the Everyday: Incestuous Amplification of Radical Creative Subjectification within the Substitutional System of the Bourgeious Division of Labor
by Noos Nomis
The social formations which generates its own conventionalised, academicised, ossified and ultimately falsified norms, require radical revisionings of its visual register that commits to the translation, catergorisation and analysis of the visual-phenomenal experience through an increased and intensified reassignment and realignment of the avant-garde vocabulary within a oppressive matrix of the canon to perpetuate a continuing investigation into the immensity of the social trauma brought about by the political imposition of a state sanctioned prohibition that enforces a self-censoring process within the subject's psychic formation.
The Best Art Show in the Univers is a Lacanian postulation that seeks to reenact the maddening complexity of contemporary art tropes creating a clinical language through which the formal performance and innovation was to attend to symptomatic language - reflecting upon the arch-myth of the conflicted desires rooted in an Oedipus struggle against the father authority. Here, chi too, Dill Malik and Munkao purports a crisis in contemporary practice, positioning their art at the exact moment of theoretical collapse.
Central to this Lacanian revisioning is also a privileged code through which the concept of class, central to the social history of art, is elucidated through the means of access to the available codes circulated freely within contemporary imagination. The form a specific class identity, pointing at how consciousness of artists could be radicalised at certain points in time and that artsts might have assumed positions of solidarity with the oppressed class. In this instant, the representations of alienated forms, twice removed from the prevalent figurative art of the nation, is a tautological heroicisation of artistic practices that are subjected to a mechanistic relationship with artistic visual production.
The interpretative desire to maintain a cohesive system, within an exhibition framework, creates a recuperative register, thought which extreme forms of particulisation and fragmentation have created a caesura - breaking point through which the correlative remnants allows for a revolutionary formulation of syntax and structures that generate incongruent but powerful morphologies through which the obtained meaning could then account for the frameworks of those deterministic mainspring.
The success of this exhibition lies in the bringing together of two things that seem mutually exclusive, the mnemonic dimension of art and a technological format of presentation. Tapping into various languages that account for the intensely variegated fields and area of contemporary practice, the excess and surfeit of medium concern that confidently asserts the fetishisation and spectacularisation of the practice, the exhibition becomes a process that unveils a totalitarian system of values intrinsic in modern art. Without innate resistance, this visual excess performs and queers the subjectivities of both the artist and the audience, converting the physical space into a psychological one while connecting the realities of the space to globalisation as a driving factor.
The consequences are many and varied. Located within a matrix that is in its least meaningful form described as post-colonial, the hegemonic Western perspective central to the construction of the cryto-mythical narrative of modern art becomes a locus through which these artists have trained their critical lens on. Successive assaults on the inherited apparatus conceives a moment where other distriution forms and alternative public spheres can be imagined. Commitment to opening of art within a multi-disiplinary post medium alignment might at first seemed antipodal to the rigorous pledge towards disciplining and wrest control of meaning within a visual library. Yet these two forms are aligned in their opposition to other prevalent aesthetic models - the idea that art is expressive of subjectivity or the extreme objectivity of medium specific model ala Greenberg. These pragmatic, humanistic approaches recruited humour as an insightful if not exhaustive weapon through which an audience which might at first be alienated from the rigorous practice of contemporary art can be slowly persuaded and won over, reinventing a mode of engagement that at once allow for critical revisioning of the subject and possibilities of reinvesting the formal history of art with social agency.
Ribbit. Ribbit. I'm a posthuman rabbit. Ribbit.