Hither is Thither
by 0
10 – 18 September 2021 1
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Looking at 0
by Aminah Ibrahim
Kris and River have been close friends since childhood, and while they both have an interest in collecting art, River has been trying to get Kris, whose taste tends to be more conservative, to consider supporting more contemporary and experimental artists. River has a BA in art history and works in television; Kris studied medicine and is an OB-GYN. They meet at an art gallery when it reopens.
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Kris River
iver, you know I’m always happy to follow you R anywhere to go and look at art, but, it’s been so long since we last saw each other in person, maybe meeting over drinks would have been better ... We’ll get drinks after, lah. My friend told me to check this show out, and I really wanted to see it, it’s not on for long! What are we supposed to be looking at here? Since we’ve been stuck in lockdown for so long, I thought it would be good to expand our horizons. But the walls are empty! Look, there, at the edge of the floor and walls. It looks like an empty room, but there’s something there — the sticker that looks like marble material. See it or not? And in the other room, it’s the dashes on the floor. Isn’t that just part of the gallery? No, I think that’s it — that’s the artist’s artwork. What?! Are you sure? Kris, don’t you think that makes it interesting, when you can’t be entirely sure, when you begin to question whether it’s art or not? 15
Kris River
River, seriously? What’s the point? It’s called visual art, right? Shouldn’t, you know, we be able to see something? Actually, one of the major themes in contemporary art, and not just contemporary Western art, but art from Southeast Asia, is this whole question of visibility and invisibility. Also, you remember that famous saying about modern art — about making the familiar seem unfamiliar.
Kris River
Now, I think you’re being unfair. True, contemporary art often comes with a lot critical discourse, but, look ... two things: One, I do think that there’s no escaping that we live in a complicated world, and art will be an expression of all that. So the issues of the day are going to be part of art. And all the “words”, as you put it, or, rather, the ideas and issues — often very real urgent issues — well, you can’t separate art from all that.
Maybe I just like my art to be paintings. Aiyo, Kris, you never think out of the box! That’s not fair! Okay, then, explain. You know why I don’t like contemporary art? It’s because it revolves around too much explanation. You look at this empty gallery, and then there’s this long text saying that the work is about post-colonialism or feminism or all that art academic blah blah. But we’re both feminists! Yes, of course. But, most of the time, I’m not convinced that so much of the art you drag me to see, that the art really has anything to do with feminism, or postcolonialism, or capitalism, the climate crisis, or any of that! You know, I think it’s just words explaining, it’s not art. The art itself doesn’t look like anything to me. 16
Two, I think the point of the work we see right here isn’t just about the words there may be to explain the work. I think what’s also really important is our experience — yours and mine — when we look at what seems like an empty gallery, and then we discover small little interventions on the floor and along edges of the walls, and we ask ourselves, what is going on here? Okay, I’ll admit that I can appreciate all that you’re saying at an intellectual level, but ... I still don’t get it. Well, maybe what I’m trying to suggest is that this disorientation you are feeling is sometimes part of the experience of art. It’s not always just about recognising something you like — and don’t get me wrong, ah — I really like many of the paintings you hang at your place — but there’s more to today’s
Kris River
art than straightforward aesthetic pleasure, there is also wondering and questioning. With all art — even this experimental contemporary stuff — our actual experiences of the art is important, not just all the intellectual conversation that may explain the artist’s intentions. All right, so the work did make me react. And I’m kind of uncomfortable, and I was expecting something else, and I didn’t get what I expected. But who is this 0 anyway? That’s the thing, nobody knows. Apparently, the artist is incognito. Like the Banksy guy! Why would anyone put in all this work as an artist and not be recognised for it? I mean, I can only give you my opinion, but when an artist hides their own identity, it becomes more about the art itself, and less about the artist. Like zero identity? Maybe, and also if the artist is like this blank, maybe with each new artwork, they create a new framework for identity, or for multiple identities. Again, I can only give my opinion, but for me, it’s like when 0 creates this particular work here and now, 0 is also creating themselves. 17
Kris River
That’s what’s interesting about all this, lah. It’s like we need to experience a lot of empty space, so we can focus on these small, little actions of this blank slate artist, and that these actions suggest a kind of creation. Also, the artwork and the space interact too, becoming an experience. River, now I think you’re losing me. Let’s go get that drink. Looks like you need it more than me. Can!
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Artist Profile
0 is a virtual artist created by the artist for this exhibition.
This incognito artist hides their identity in order to bring attention back to the artwork. Contemporary art today focuses on text, as well as discourse on issues like nationality, gender, age, the media, etc. This turns the artwork into text and discourse, leading to the absence of the artwork. When the artist creates their work, they also create their self. Creating a virtual artist is equal to creating an artwork.
SELECTED GROUP EXHIBITIONS 2015 BE CAREFUL OR YOU MAY BECOME THE CENTRE, Wei-Ling Contemporary, Kuala Lumpur, Malaysia. 2015 Contemporary Propulsion: Influence and Evolution, G13 gallery, Petaling Jaya, Malaysia. 2014 Young Malaysia Artists New Object(ion) 2, Muzium Negeri Pulau Pinang, Malaysia. 2013 Young Malaysia Artists New Object(ion) 2, Gallery Petronas, Kuala Lumpur, Malaysia. 19
Published in conjunction with Hither is Thither by 0. Held at A+ WORKS of ART, Kuala Lumpur, Malaysia from 10th to 18th September 2021.
0 and A+ WORKS of ART, would like to thank the following individuals for their support and contribution to this publication and exhibition: Chuah Chong Yong Lee Weng Choy
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Artist 0 Editor Aminah Ibrahim Installation Team Huak Huak Art Studio Design & Photography Kenta.Works
A+ WORKS of ART d6 - G - 8 d6 Trade Centre 801 Jalan Sentul 51000 Kuala Lumpur Malaysia +60 18 333 3399 info@aplusart.asia www.aplusart.asia Facebook/Instagram @aplusart.asia
Copyright © 2021 0 and A+ WORKS of ART. All rights reserved. All articles and illustrations contained in this catalogue are subject to copyright law. Any use beyond the narrow limited defined by copyright law, and without the express of the publisher, is forbidden and will be prosecuted.
A+ WORKS of ART is a contemporary art gallery based in Kuala Lumpur, with a geographic focus on Malaysia and Southeast Asia. Founded in 2017 by Joshua Lim, the gallery presents a wide range of contemporary practices, from painting to performance, drawing, sculpture, new media art, photography, video and installation. Its exhibitions have showcased diverse themes and approaches, including material experimentation and global conversations on social issues. Collaboration is key to the ethos of A+ WORKS of ART. Since its opening, the gallery has worked with artists, curators, writers, collectors, galleries and partners from within the region and beyond, and continues to look out for new collaborations. The gallery name is a play on striving for distinction but also on the idea that art is never without context and is always reaching to connect — it is always “plus” something else.