installation display at the National Art Gallery, Malaysia. *note the pillars (columns), incorporated as a part of the work display, establishing a metaphorical relationship with the pillars of Islam.
detail - 'rear' of frame, correct jawi text spelling
detail - frontage halal jawi text (reversed)
detail - frontage haram jawi text (reversed)
proposal concept
JUDGES' COMMENTARY
As published in The Young Contemporaries 2004, Edition 01/2004, The National Art Gallery, Kuala Lumpur, Malaysia, ISBN 983-9572-94-6, pp. 40-41.
ISLAM AS A SUBJECT OF CRITICAL DISCOURSE
In the wake of 9-11, Islam and Muslims around the world have increasingly become subjects of global discourse (if not hatred and prejudices), open for public scrutiny, debate, dissection, investigation and interrogation. The subsequent response within the international and local contemporary art scenes as well as the accompanying discourses are interesting to be observed.
Edward Said has warned us against a sweeping, uncritical and singular representation or reading of Islam that defies the multi-faceted character of its followers, practices and translations into daily lives. Despite such warning, predictable and cliché expositions of Islam as a rigid, archaic and problematic religion that functions as a fertile ideological breeding ground for potential terrorists have become too common in the media that they may be taken as natural and inevitable.
Nuances of similar nature (such as: ‘Islam is not compatible with the new world order – it is the ugly ‘other’ that must be ‘corrected,’ ‘neutralized,’ ‘liberalized,’ ‘reinterpreted,’ or ‘mocked,’ ‘ridiculed,’ and worse, ‘eradicated’) are not uncommon to be traced in contemporary artworks that use it as a subject of concern. It is also not uncommon to stumble upon Muslim artists (somehow highlighted in the international art scene), who echo similar sentiment.
In the wake of 9-11, many Muslim artists around the world are beginning to respond directly or indirectly to various aspects of Islam through their works. Hopefully, the responses will help to create a more balanced discourse on Islam. Along this line, it has to be noted that several Malaysian artists (and art writers) have been known locally and internationally for their explicit and implicit remarks on Islam (or some aspects of it) in their artworks or writings about art. Joining the list is Abdul Multhalib Musa through his Waswas.
Waswas represents Multalib’s deeply involved inquiry into the concept and misconception of halal (lawful) and haram (prohibited). Multalib’s personal experience throughout the whole episode of preparing the work up to the process of installing it in the National Art Gallery epitomizes the uncertainty and complexity in the interpretation and implementation of the law.
As stated by Multalib in his statement, the work implicates the National Art Gallery (NAG) as a government institution in a country which Islam is the national religion, thus the need to have his work “cleansed in order to be considered permissible for exhibition or handled by Muslims.” If the statement is to be read as a tasteful sarcastic or cynical remark on NAG’s uncertainty or lack of professionalism in dealing with the issue, it leaves much to be desired as one is always reminded of how NAG as an ‘Islamic’ government institution has spent millions of Ringgit to purchase artworks (I believe that none was requested to be cleansed) by Malaysian artists (of various ethnic and religious background, including ‘difficult’ artworks by artists who claimed to be marginalized, sidelined or outcast by the mainstream ‘Islamic’ establishment).
Nevertheless, Multalib’s chosen subject of discourse and his deeply felt commitments in presenting his work exemplify both critical and creative reading of the subject. In observing Multalib’s current stance and track record, one may suspect that he has a strong potential to be an international star in the near future. Perhaps, Multalib can contribute proactively to the discourse on Islam in the international art scene.
All the best!
ISLAM SEBAGAI SUBJEK WACANA KRITIKAL
Susulan dari 9-11, Islam dan penganutnya di seluruh dunia semakin menjadi subjek wacana global (juga kebencian dan prejudis), terbuka dan dibogelkan untuk ditinjau, diperbahas, dibedah, didedah, disiasat dan dipersoal oleh masyarakat dunia. Reaksi-reaksi susulan dalam arena seni rupa kebangsaan dan antarabangsa dan juga wacana yang mengiringi arena ini agak menarik untuk ditinjau.
Edward Said pernah memberi peringatan terhadap representasi dan pembacaan bersifat mono, tidak kritikal dan terlalu menyeluruh mengenai Islam. Pembacaan sebegini hanya akan menidakkan sifat kepelbagaian yang terdapat pada penganut Islam itu sendiri, mahupun amalan-amalan dan terjemahannya dalam kehidupan seharian. Walaupun diberi peringatan sedemikian, pendedahan yang sudah dijangka dan klise terhadap Islam sebagai agama yang kaku, jumud, kuno, bermasalah dan sebagai pusat pembiakan ideologikal untuk bakal-bakal pengganas sudah menjadi terlalu lumrah dalam media sehingga pandangan-pandangan sebegini semakin diterima sebagai suatu yang semulajadi dan tidak dapat dielakkan.
Nada yang lebih kurang sama (seperti Islam tidak seiring dengan aturan dunia baru – ia adalah ‘orang lain’ yang hodoh, yang mesti ‘dibetulkan’, ‘dineutralkan’, ‘dibebaskan’, ‘ditafsir-semula’ (oleh siapa?), atau juga ‘diejek’, ‘dipersenda’ dan lebih parah lagi ‘dihapuskan.’) sudah menjadi lazim untuk ditemui dalam beberapa karya kontemporari yang menggunakannya sebagai subjek persoalan. Tidak menghairankan juga sekiranya kita terserempak dengan pengkarya Muslim (yang nampaknya sering ditonjolkan dalam arena seni rupa antarabangsa), yang melaungkan gema yang hampir sama.
Susulan dari 9-11, ramai pengkarya Muslim seluruh dunia mula memberi reaksi secara langsung atau tidak langsung kepada pelbagai aspek tentang Islam menerusi karya mereka. Moga-moga segala reaksi ini dapat membantu membentuk wacana yang lebih berimbangan tentang Islam.
Sejajar dengan perkembangan ini, perlu dinyatakan bahawa terdapat beberapa orang pengkarya Malaysia (dan juga penulis seni rupa) yang diketahui pernah membuat pernyataan-pernyataan secara terus-terang atau berlapik terhadap Islam dalam kancah seni rupa kebangsaan dan antarabangsa. Abdul Multalib Musa adalah salah seorang pengkarya yang mula menyertai senarai pengkarya sebegini.
Waswas mewakili penglibatan bersungguh Multalib dalam meninjau permasalahan berkenaan dengan soal halal dan haram. Pengalaman peribadi Multalib sepanjang episod menyediakan karyanya hinggalah ke proses memasang karya tersebut di Balai Seni Lukis Negara mencerminkan kerumitan dan kesangsian yang melanda penafsiran dan perlaksanaan hukum yang berkaitan.
Seperti yang telah dinyatakan oleh Multalib dalam kenyataan bertulisnya, karya ini melibatkan Balai Seni Lukis Negara sebagai sebuah institusi kerajaan yang agama rasminya adalah Islam. Oleh itu, karyanya perlu “disamak (atau dibersihkan dengan kaedah penyucian yang betul) untuk membolehkan ia dipertimbangkan untuk pameran atau disentuh oleh pekerja-pekerja Muslim.” Sekiranya kenyataan beliau ini ingin diterima sebagai suatu sindiran atau ejekan sinis yang pedas dan lazat terhadap keraguan Balai Seni Lukis atau kekurangan daya profesionalnya dalam menangani persoalan yang dibangkitkan, kenyataannya tidak begitu menggigit kerana kita seringkali diingatkan bahawa Balai Seni Lukis sebagai sebuah institusi kerajaan Islam telah membelanjakan berjuta Ringgit untuk membeli karya-karya (yang saya pasti tidak perlu di’samak’ atau di’suci’kan) oleh para pengkarya Malaysia (dari pelbagai latarbelakang etnik dan agama, termasuk karya-karya oleh para pengkarya ‘rumit’ yang sering merintih kepada dunia luar bahawa diri mereka sentiasa dipinggir, diketepikan atau dianak-tirikan oleh institusi-institusi arus perdana Islam.)
Namun demikian, subjek wacana yang dipilih oleh Multalib dan komitmennya yang tinggi dalam mempersembahkan karyanya menjadi contoh kepada pembacaan yang kreatif dan kritikal terhadap sesuatu isu persoalan. Sekiranya ditinjau pegangan Multalib yang terkini dan juga rekod penglibatannya, kita boleh menjangka bahawa beliau mungkin berpotensi untuk menjadi seorang bintang seni rupa antarabangsa pada masa akan datang. Barangkali, Multalib dapat memberi sumbangan proaktif kepada wacana tentang Islam di persada seni rupa antarabangsa.
__________________________________________
FULL ARTIST TEXT SUBMISSION FOR BMS 2004 CATALOGUE
(with minor edition for the benefit of non-Malaysian & non-muslim readers)
DETAILS OF THE WORK
Artist: Abdul Multhalib Musa
Title: waswas
Year: 2004
Medium: laser cut steel plate that has been cleansed (samak) and timber frame
Dimension: 70x307x225cm (whole installation display area)
Initially, the Arabic calligraphy or khat design was to be cut on steel plates at a laser cutting workshop. Upon completion of the cutting process a few days later, the artist, went to the workshop to pick-up the finished work. It was during lunch hour and the artist noticed some of the non-Muslim staff were consuming non-halal food in the workspace area. As a Muslim, the artist was concerned of the possibility of 'spiritual' contamination, and it was felt that this was an unlawful (haram) situation according to the basic teachings of Islam.
This incident is significant considering the type and intention of the work to be submitted for the Young Contemporaries Awards 2004, wherein the work may be exhibited for the final round of judging at the National Art Gallery of Kuala Lumpur. The site in which the work is to be shown is also important because the building is a government institution in which Islam is the national religion of Malaysia. Hence, the work should be cleansed according to the Islamic practice if it is to be exhibited in this particular site.
According to Islam anything that has been positively ‘tarnished’ by the heaviest classification of waste (najis mughalazah) or even if there is reasonable doubt (waswas), needs to be cleansed accordingly if it is to be ‘used’ by a Muslim in any way. In light of the various uncertainties pertaining to the status of the steel plates during the production process, this warranted for the work to be cleansed (samak) which has been done prior to framing.
Based on the intention and process being noted, the work therefore deals with the concept and misconception of halal (lawful) and haram (prohibited) that exists among the general Malaysian society. As a point of departure, the composition of the work is drawn from the basic Islamic principles pertaining to what this notion entails. Accordingly, it is intended to express some of the circumstances pertaining to the current state of confusion, uncertainty, and lack of knowledge that leads to allowing what is halal to become haram, and haram to be deemed as halal. It also attempts to emphasize some of the difficulties in trying to clarify such notion on a more general level, given that Malaysia is a multi-religious society that is recognized as an Islamic state. It further attempts to highlight some of the complexities in its interpretation and implementation strategies based on the current state of affairs in this country, especially within the context of public policy.
For exhibition in the National Art Gallery of Kuala Lumpur, the artist saw an opportunity for the work to be better understood through the way it was displayed, so that a different viewing experience is achieved. It was felt that the installation should allow for the viewer to be able to engage the work from a varying number of entry points in the confronting issues being raised, literally and metaphorically.
There are obviously many levels of theoretical concept and subject-matter in relation to this work. As a delimitation however, only the approach to understanding some of its basic tenets will be elaborated here. To begin with, the khat or Arabic text of halal and haram are cut out on the two steel plates. The negative figure-ground space left implies that nothing physical is evident and yet the meaning it carries is still vital to its integrity, whereby the work dictates a certain manner of caring and handling from an Islamic point of view.
Hardly noticeable, the hanging of the work just slightly above an average eye-level height reflects a minor difficulty or an unaccustomed viewing manner for a conventional artwork that has been properly framed. The arrangement of the two framed khat pieces is also significant in that both are juxtaposed facing against each other while the viewer is sandwiched in between. Hence, the two cannot be seen from this single central location. Thus the viewer is obligated to maneuver oneself around the work in order to see both simultaneously.
Another important element to the installation is that the two steel pieces are suspended between two pillars of the exhibition space. Literally, these pillars are the foundation of this building, and figuratively the foundation of this institution. Building upon this, parallels can be drawn to the pillars of Islam. Analogies to concepts of purity are further established with the white finishing and minimalist character of the columns. Depending on where the viewer is standing in order to look and understand the two metal pieces, these pillars can be seen as either an obstruction, or a framework to accentuate the solidarity of the artwork. By examining the ways in which the khat is to be, or is being observed, it is hope to encourage viewers to better understand the authoritarian nature of this mode of visual representation - the boundaries of art and iconography, belief and supposition.
As published in The Young Contemporaries 2004, Edition 01/2004, The National Art Gallery, Kuala Lumpur, Malaysia, ISBN 983-9572-94-6, pp. 40-41.
ISLAM AS A SUBJECT OF CRITICAL DISCOURSE
In the wake of 9-11, Islam and Muslims around the world have increasingly become subjects of global discourse (if not hatred and prejudices), open for public scrutiny, debate, dissection, investigation and interrogation. The subsequent response within the international and local contemporary art scenes as well as the accompanying discourses are interesting to be observed.
Edward Said has warned us against a sweeping, uncritical and singular representation or reading of Islam that defies the multi-faceted character of its followers, practices and translations into daily lives. Despite such warning, predictable and cliché expositions of Islam as a rigid, archaic and problematic religion that functions as a fertile ideological breeding ground for potential terrorists have become too common in the media that they may be taken as natural and inevitable.
Nuances of similar nature (such as: ‘Islam is not compatible with the new world order – it is the ugly ‘other’ that must be ‘corrected,’ ‘neutralized,’ ‘liberalized,’ ‘reinterpreted,’ or ‘mocked,’ ‘ridiculed,’ and worse, ‘eradicated’) are not uncommon to be traced in contemporary artworks that use it as a subject of concern. It is also not uncommon to stumble upon Muslim artists (somehow highlighted in the international art scene), who echo similar sentiment.
In the wake of 9-11, many Muslim artists around the world are beginning to respond directly or indirectly to various aspects of Islam through their works. Hopefully, the responses will help to create a more balanced discourse on Islam. Along this line, it has to be noted that several Malaysian artists (and art writers) have been known locally and internationally for their explicit and implicit remarks on Islam (or some aspects of it) in their artworks or writings about art. Joining the list is Abdul Multhalib Musa through his Waswas.
Waswas represents Multalib’s deeply involved inquiry into the concept and misconception of halal (lawful) and haram (prohibited). Multalib’s personal experience throughout the whole episode of preparing the work up to the process of installing it in the National Art Gallery epitomizes the uncertainty and complexity in the interpretation and implementation of the law.
As stated by Multalib in his statement, the work implicates the National Art Gallery (NAG) as a government institution in a country which Islam is the national religion, thus the need to have his work “cleansed in order to be considered permissible for exhibition or handled by Muslims.” If the statement is to be read as a tasteful sarcastic or cynical remark on NAG’s uncertainty or lack of professionalism in dealing with the issue, it leaves much to be desired as one is always reminded of how NAG as an ‘Islamic’ government institution has spent millions of Ringgit to purchase artworks (I believe that none was requested to be cleansed) by Malaysian artists (of various ethnic and religious background, including ‘difficult’ artworks by artists who claimed to be marginalized, sidelined or outcast by the mainstream ‘Islamic’ establishment).
Nevertheless, Multalib’s chosen subject of discourse and his deeply felt commitments in presenting his work exemplify both critical and creative reading of the subject. In observing Multalib’s current stance and track record, one may suspect that he has a strong potential to be an international star in the near future. Perhaps, Multalib can contribute proactively to the discourse on Islam in the international art scene.
All the best!
ISLAM SEBAGAI SUBJEK WACANA KRITIKAL
Susulan dari 9-11, Islam dan penganutnya di seluruh dunia semakin menjadi subjek wacana global (juga kebencian dan prejudis), terbuka dan dibogelkan untuk ditinjau, diperbahas, dibedah, didedah, disiasat dan dipersoal oleh masyarakat dunia. Reaksi-reaksi susulan dalam arena seni rupa kebangsaan dan antarabangsa dan juga wacana yang mengiringi arena ini agak menarik untuk ditinjau.
Edward Said pernah memberi peringatan terhadap representasi dan pembacaan bersifat mono, tidak kritikal dan terlalu menyeluruh mengenai Islam. Pembacaan sebegini hanya akan menidakkan sifat kepelbagaian yang terdapat pada penganut Islam itu sendiri, mahupun amalan-amalan dan terjemahannya dalam kehidupan seharian. Walaupun diberi peringatan sedemikian, pendedahan yang sudah dijangka dan klise terhadap Islam sebagai agama yang kaku, jumud, kuno, bermasalah dan sebagai pusat pembiakan ideologikal untuk bakal-bakal pengganas sudah menjadi terlalu lumrah dalam media sehingga pandangan-pandangan sebegini semakin diterima sebagai suatu yang semulajadi dan tidak dapat dielakkan.
Nada yang lebih kurang sama (seperti Islam tidak seiring dengan aturan dunia baru – ia adalah ‘orang lain’ yang hodoh, yang mesti ‘dibetulkan’, ‘dineutralkan’, ‘dibebaskan’, ‘ditafsir-semula’ (oleh siapa?), atau juga ‘diejek’, ‘dipersenda’ dan lebih parah lagi ‘dihapuskan.’) sudah menjadi lazim untuk ditemui dalam beberapa karya kontemporari yang menggunakannya sebagai subjek persoalan. Tidak menghairankan juga sekiranya kita terserempak dengan pengkarya Muslim (yang nampaknya sering ditonjolkan dalam arena seni rupa antarabangsa), yang melaungkan gema yang hampir sama.
Susulan dari 9-11, ramai pengkarya Muslim seluruh dunia mula memberi reaksi secara langsung atau tidak langsung kepada pelbagai aspek tentang Islam menerusi karya mereka. Moga-moga segala reaksi ini dapat membantu membentuk wacana yang lebih berimbangan tentang Islam.
Sejajar dengan perkembangan ini, perlu dinyatakan bahawa terdapat beberapa orang pengkarya Malaysia (dan juga penulis seni rupa) yang diketahui pernah membuat pernyataan-pernyataan secara terus-terang atau berlapik terhadap Islam dalam kancah seni rupa kebangsaan dan antarabangsa. Abdul Multalib Musa adalah salah seorang pengkarya yang mula menyertai senarai pengkarya sebegini.
Waswas mewakili penglibatan bersungguh Multalib dalam meninjau permasalahan berkenaan dengan soal halal dan haram. Pengalaman peribadi Multalib sepanjang episod menyediakan karyanya hinggalah ke proses memasang karya tersebut di Balai Seni Lukis Negara mencerminkan kerumitan dan kesangsian yang melanda penafsiran dan perlaksanaan hukum yang berkaitan.
Seperti yang telah dinyatakan oleh Multalib dalam kenyataan bertulisnya, karya ini melibatkan Balai Seni Lukis Negara sebagai sebuah institusi kerajaan yang agama rasminya adalah Islam. Oleh itu, karyanya perlu “disamak (atau dibersihkan dengan kaedah penyucian yang betul) untuk membolehkan ia dipertimbangkan untuk pameran atau disentuh oleh pekerja-pekerja Muslim.” Sekiranya kenyataan beliau ini ingin diterima sebagai suatu sindiran atau ejekan sinis yang pedas dan lazat terhadap keraguan Balai Seni Lukis atau kekurangan daya profesionalnya dalam menangani persoalan yang dibangkitkan, kenyataannya tidak begitu menggigit kerana kita seringkali diingatkan bahawa Balai Seni Lukis sebagai sebuah institusi kerajaan Islam telah membelanjakan berjuta Ringgit untuk membeli karya-karya (yang saya pasti tidak perlu di’samak’ atau di’suci’kan) oleh para pengkarya Malaysia (dari pelbagai latarbelakang etnik dan agama, termasuk karya-karya oleh para pengkarya ‘rumit’ yang sering merintih kepada dunia luar bahawa diri mereka sentiasa dipinggir, diketepikan atau dianak-tirikan oleh institusi-institusi arus perdana Islam.)
Namun demikian, subjek wacana yang dipilih oleh Multalib dan komitmennya yang tinggi dalam mempersembahkan karyanya menjadi contoh kepada pembacaan yang kreatif dan kritikal terhadap sesuatu isu persoalan. Sekiranya ditinjau pegangan Multalib yang terkini dan juga rekod penglibatannya, kita boleh menjangka bahawa beliau mungkin berpotensi untuk menjadi seorang bintang seni rupa antarabangsa pada masa akan datang. Barangkali, Multalib dapat memberi sumbangan proaktif kepada wacana tentang Islam di persada seni rupa antarabangsa.
__________________________________________
FULL ARTIST TEXT SUBMISSION FOR BMS 2004 CATALOGUE
(with minor edition for the benefit of non-Malaysian & non-muslim readers)
DETAILS OF THE WORK
Artist: Abdul Multhalib Musa
Title: waswas
Year: 2004
Medium: laser cut steel plate that has been cleansed (samak) and timber frame
Dimension: 70x307x225cm (whole installation display area)
Initially, the Arabic calligraphy or khat design was to be cut on steel plates at a laser cutting workshop. Upon completion of the cutting process a few days later, the artist, went to the workshop to pick-up the finished work. It was during lunch hour and the artist noticed some of the non-Muslim staff were consuming non-halal food in the workspace area. As a Muslim, the artist was concerned of the possibility of 'spiritual' contamination, and it was felt that this was an unlawful (haram) situation according to the basic teachings of Islam.
This incident is significant considering the type and intention of the work to be submitted for the Young Contemporaries Awards 2004, wherein the work may be exhibited for the final round of judging at the National Art Gallery of Kuala Lumpur. The site in which the work is to be shown is also important because the building is a government institution in which Islam is the national religion of Malaysia. Hence, the work should be cleansed according to the Islamic practice if it is to be exhibited in this particular site.
According to Islam anything that has been positively ‘tarnished’ by the heaviest classification of waste (najis mughalazah) or even if there is reasonable doubt (waswas), needs to be cleansed accordingly if it is to be ‘used’ by a Muslim in any way. In light of the various uncertainties pertaining to the status of the steel plates during the production process, this warranted for the work to be cleansed (samak) which has been done prior to framing.
Based on the intention and process being noted, the work therefore deals with the concept and misconception of halal (lawful) and haram (prohibited) that exists among the general Malaysian society. As a point of departure, the composition of the work is drawn from the basic Islamic principles pertaining to what this notion entails. Accordingly, it is intended to express some of the circumstances pertaining to the current state of confusion, uncertainty, and lack of knowledge that leads to allowing what is halal to become haram, and haram to be deemed as halal. It also attempts to emphasize some of the difficulties in trying to clarify such notion on a more general level, given that Malaysia is a multi-religious society that is recognized as an Islamic state. It further attempts to highlight some of the complexities in its interpretation and implementation strategies based on the current state of affairs in this country, especially within the context of public policy.
For exhibition in the National Art Gallery of Kuala Lumpur, the artist saw an opportunity for the work to be better understood through the way it was displayed, so that a different viewing experience is achieved. It was felt that the installation should allow for the viewer to be able to engage the work from a varying number of entry points in the confronting issues being raised, literally and metaphorically.
There are obviously many levels of theoretical concept and subject-matter in relation to this work. As a delimitation however, only the approach to understanding some of its basic tenets will be elaborated here. To begin with, the khat or Arabic text of halal and haram are cut out on the two steel plates. The negative figure-ground space left implies that nothing physical is evident and yet the meaning it carries is still vital to its integrity, whereby the work dictates a certain manner of caring and handling from an Islamic point of view.
Hardly noticeable, the hanging of the work just slightly above an average eye-level height reflects a minor difficulty or an unaccustomed viewing manner for a conventional artwork that has been properly framed. The arrangement of the two framed khat pieces is also significant in that both are juxtaposed facing against each other while the viewer is sandwiched in between. Hence, the two cannot be seen from this single central location. Thus the viewer is obligated to maneuver oneself around the work in order to see both simultaneously.
Another important element to the installation is that the two steel pieces are suspended between two pillars of the exhibition space. Literally, these pillars are the foundation of this building, and figuratively the foundation of this institution. Building upon this, parallels can be drawn to the pillars of Islam. Analogies to concepts of purity are further established with the white finishing and minimalist character of the columns. Depending on where the viewer is standing in order to look and understand the two metal pieces, these pillars can be seen as either an obstruction, or a framework to accentuate the solidarity of the artwork. By examining the ways in which the khat is to be, or is being observed, it is hope to encourage viewers to better understand the authoritarian nature of this mode of visual representation - the boundaries of art and iconography, belief and supposition.
