Rumah Seni Selangor and major artists join forces for charity art exhibition series

Ahmad Fuad Osman's 'TANDA (Tanya)' (oil on canvas, 2020). Photos: Cov-Art19

Over a month into the movement control order (MCO) here, more virtual art exhibitions have been popping up in recent days. Likewise, Rumah Seni Selangor's new group exhibition Cov-Art19 or Seni-Kov19 has turned heads with its artist line-up, which includes many well-known names in the industry.

This is a charity art exhibition, with part of the proceeds going to Tabung Karyawan Seni, which will help other artists in need.

“Rumah Seni Selangor is an art institution that supports artists through programmes and activities such as workshops, classes and exhibitions. The coronavirus pandemic has deeply affected many artists and communities economically. This exhibition is one of our efforts in reaching out and helping them, ” says Alina Abdullah, curator of Cov-Art19.

Rumah Seni Selangor (RUsSel), based in Petaling Jaya, opened in early 2018 as a community arts space dedicated residency programmes, exhibitions, literature events and mini arts festivals.

Alina adds that besides helping the art community, one of the aims of this exhibition is to uplift the spirits during these tough times.

“We want to show that besides appreciating art in physical spaces, it can also be experienced online. We, the artists and art institutions, are joining hands to help and support each other through this crisis,” she says.

Ahmad Shukri Elias’ 'Ronda Minda' (acrylic on wood, 2020).

There are 17 participating artists in Cov-Art19, including Ahmad Fuad Osman, Ahmad Shukri Elias, Bayu Utomo, Samsudin Wahab, Suddin Lappo, Masnoor Ramli, Edroger Rosili, Fadzil Idris, Haslin Ismail, Haris Abadi and Zulkiflee Zainul Abidin.

Most of the works here were created during the coronavirus outbreak, with a few pieces from recent years.

Ahmad Fuad’s sombre-looking TANDA (tanya) is one such new work, depicting a sight that is a familiar one to us by now.

“A lot of theories have come up with regards to how the pandemic happened and how the virus came about. First the claim was that it originated from an exotic food market in Wuhan, China. Then came the conspiracy theories that involved the Rothschild family, their New World Order and the prophecies, the biological weapon experiments and how this must be the wrath of God descending upon humans for what we have done to the world. To me, the world is now in a state of shock and confusion, ” says Ahmad Fuad.

He is back making art after a spirit-draining tussle with the National Art Gallery (NAG) in February this year over the removal of four works from his career survey At The End Of The Day Even Art Is Not Important (1990-2019) show.

His works were reinstated by NAG after a public uproar surrounding the censorship. In these stormy Covid-19 times, art is important. More important than ever. Make no mistake there.

Haris Abadi’s 'Wira' (silkscreen print, 2020).

Ahmad Fuad muses that the situation now, like the title of his artwork – TANDA (Tanya) – is in fact a big question mark for him.

“What is really happening to us now? I personally take this pandemic as a wake-up call, a time to reevaluate lifestyle choices and navigating the rat race, a time to relook into my own religious practices and treasure friendships and those little things that we have mostly forgotten in life. This is the best time for renewal, ” he adds.

In an equally reflective mood, Edroger’s Common Enemy (Musuh Yang Sama) contemplates on how the pandemic has brought the world to its knees.

“The whole world today is battling against a common enemy that is invisible. It attacks and affects everyone. It is a war no nation is best prepared for, the enemy is nowhere visible for our military to aim our weapons to. We have spent billions of dollars on strengthening our military, to defend ourselves from each other, and yet to this common enemy, we are weak, ” says Edroger.

He shares that the artwork is a juxtaposition of selected elements that have been bombarded by the media to us, while we face a global pandemic. It is an exploration of being vulnerable, one that goes beyond the obvious anxiety revolving around life and death.

“It also touches on the vulnerability of the economy and on the recession that will follow the pandemic, which may last far longer than expected, ” he says.

The new normal

After more than six weeks of the MCO, and its latest extension until May 12, many people have settled down into their work from home or #stayathome routines.

During this time, Haslin started on a new series of colour pencil works inspired by the different spaces at home.

His artwork in this exhibition Tales Of Tomorrow is one of the pieces from this series that takes things outdoors.

“I was staring at the mini garden – which is just wild grass at the moment – and in my mind I saw huge fruit trees with branches reaching out into the sky, so high that I can’t see the top. These trees remind me of a better future after the pandemic ends, ” he says.

Haslin Ismail’s 'Tales Of Tomorrow' (colour pencils on paper, 2020).

Haslin’s work merges the physical world around him with his imagination. From the outside, it looks like he is quite at home with it. But he shares that the lack of exposure from being holed up at home will take its toll on anyone, himself included, sooner or later.

“The pandemic has really affected artists, galleries and everyone else in the art industry. Galleries are holding online exhibitions, but many art lovers prefer viewing art in person. But like it or not, the pandemic has changed how we do things. This is the new normal and I believe there is still space for us to explore interesting art activities and keep productivity up, ” says Haslin.

Fellow artist Haris could not agree more, noting that most artists are used to staying in and working at home or in their studio.

“But now that everyone is trying to adapt to the situation, I think it is the right time for artists to relook at their own practice. We have been doing the same thing for far too long, so let’s break the old, boring ‘modern’ rules and traditions, ” he says.

He hopes that his Wira, which uses the iconic image of the Tugu Negara, will be seen as a beacon of hope in these trying times.

Wira was a viral hit when Haris released its image on Facebook a week into the MCO phase last month, with thousands of netizens agreeing with the artist that the frontliners are the ones playing a heroic role in the war against Covid-19.

No paint, no problem

Before the MCO, Fadzil was painting and working on sculptures in his studio, located some 10min drive from his house. Since the MCO came into effect, he has put those works on hold and focused on digital art making.

“The lockdown gives me more time to work with software. My two works in this exhibition are inspired by Warhol’s art, specifically his silkscreen works. I attempted to create a similar effect digitally, capturing the ‘traditional’ limited colour usage and style, ” he says of After Warhol (1) ELI and After Warhol (2) MOA.

Fadzil Idris's 'After Warhol (2) MOA' (digital print on paper, 2020).

In terms of unorthodox media, Zulkiflee takes it a step further with coffee on paper in a series of works he titled Kluster. He was taken aback by how the 16,000-strong gathering at the Sri Petaling mosque complex in Selangor has emerged as the source of hundreds of new coronavirus cases spanning South-East Asia.

“The idea here was for me, as an artist, to document images and subjects around me as they happen, using media and tools within easy reach at home. In this case, I decided to use coffee and syrup to draw each day, almost like a photo diary, ” he says.

Coronavirus cases linked to the four-day gathering (Feb 27 to March 1) remains the largest Covid-19 cluster in Malaysia so far.

What lies ahead

So what happens now, and perhaps even more importantly, is the future as bleak as it seems?

Ahmad Fuad believes that artists and galleries will have to adopt new strategies in order to navigate the new landscape, or risk drowning. He muses that as with the rejuvenation of nature we see happening in pockets around the world, he sees this pandemic as a cleansing process for the industry too.

“The art world needs to go through this process of cleansing and renewal. The pandemic will wipe out all artists and galleries who were in this just for the ride when the art market was booming. Just like Darwin’s natural selection and the survival of the fittest in his theory of evolution, only the genuine artists and gallerists will prevail, as they are passionate about art and not solely because of the market and its status as a commodity, ” he says.

Bayu Utoma Radjikin’s 'Gejolak #3' (acrylic on canvas, 2020).

Edroger is candid about how the crisis is affecting him at the moment, singling out a commissioned project that he has poured heart and soul into, that has since been cancelled.

However, he remains positive, yet grounded.

“It was funded from my own savings, so it really took a toll on me. But the greatest challenge is yet to come, that is, the economic recession that will surely slow the art market. But I also have to say that it is art – both making it and experiencing it – that can inspire hope in all during this crisis and help ease the painful ride, ” he concludes.

Phase two of Cov-Art19, with other artists involved, is expected to launch in early May.

Phase one will remain online, with bookings still open.