Front Row

Just fresh out of music school, the two young musicians share their musical journey and paint the road ahead. They also talk about the composers they will be performing.

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This exhibition, which features nine works by the artist, doubles as a farewell to the past and a forward look to art which is more a project with more contingencies, collaborations and variables to which the artist must surrender.  Even in this exhibition, the artist permits nature to participate in his creations--like leaving honey on canvas out in the sun to dry and permitting life to interact on the canvas.

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Rather than take a western intellectual history approach to visual art and its language, Dr Simon Soon looks at specifics and through that, give us another way to understand the visual language used by artists and art critics. Here he explores what happens when the discipline of art takes inspiration from cultural anthropology and to engender a new artistic language and a new movement.   

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Through the series of watercolours which marked three different periods, 2013 post-Morocco, 2016 and 2017, Rafiee Ghani explains how these are manifestations of his thinking and experiential processes. The artist tells not only about his travels which inform his works, but about his emotional responses to the people of the place, often purposely ignoring the kind of news which the media deploys to depict these places.

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The guests, folks from a performing troupe and a production house, discuss the local theatre scene with respect to shows specifically for children.  They share on the evolution of Plastic City, a shadow play which started off in the lobby of a boutique Penang guesthouse, traveled to Taiwan and Macau and now in our city. The show incorporates theatrical entertainment with education on the environment.

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The recently opened ‘Contemporary Forum’ exhibition at the Ilham Gallery is a merging of minds (literally) with a collective of 7 curators choosing art pieces created in the past 8 years which aims to highlight and showcase the local arts and cultural scene. Ilham gallery director and ‘The Contemporary Forum’ co-facilitators Rahel Joseph and Lee Weng Choy join us to tell us more about why the curatorial process in Malaysia needs more development.

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Our guests take us through what might be intuitively obvious, pointing to the structure of stories and the underlying interests of stories. They share their creative processes and point to our curiosity and the impulse to see our life’s journey reflected in the journey of the protagonist on stage. The story is always dramatic and conflict-filled.

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The press release informs that the director, Joe Hasham is attempting the impossible with this Harold Pinter play ‘Betrayal’. He will be alternating the performances in two languages--English and Bahasa Malaysia--and on alternating nights. The performers tell us about the challenges and what they do to overcome them, negotiating between languages and cultures--one English and one Malay.

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The two Michaels tell about their collaboration which has enabled Michael Simon from Latin America but based in the Netherlands to absorb our South-east Asian flavours into his musical compositions. Michael Simon describes what is Asian for him, and what the rhythms here evoke in him.

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The artist tells his journey into the world of art, his art education and offers peeks into his mind, how his works are based on narratives. He reveals why he chooses figures to express himself and what he does with these figures which are like framed like a film still. He tells that he’s interested in evoking responses from the spectator without telling the spectator how to be affected by the works.

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