{"id":8595,"date":"2024-09-01T14:19:50","date_gmt":"2024-09-01T06:19:50","guid":{"rendered":"https:\/\/www.kapallorek.com\/my\/?p=8595"},"modified":"2024-09-01T14:28:18","modified_gmt":"2024-09-01T06:28:18","slug":"antara-4-0-nomad","status":"publish","type":"post","link":"https:\/\/www.kapallorek.com\/my\/antara-4-0-nomad\/","title":{"rendered":"Antara 4.0: NOMAD"},"content":{"rendered":"
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Antara 4.0 : NOMAD<\/strong> In The Art Realm<\/div>\n<\/div>\n
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Seniman:<\/div>\n
Ammar Idris<\/div>\n
Fadillah Ghani<\/div>\n
Heidhir Hamdan<\/div>\n
Izzat Aziz<\/div>\n<\/div>\n
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Kurator:<\/div>\n
Syakir Hashim\n<\/div>\n<\/div>\n
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12 Sep – 30 Okt 2024<\/div>\n
Kapallorek Artspace<\/div>\n
Seri Iskandar, Perak<\/div>\n<\/div>\n
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Disokong oleh Balai Seni Negara & Dana Kreatif Perak PORT Ipoh<\/div>\n<\/div>\n
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#nomad<\/a><\/span> #mediaart<\/a><\/span> #experimentalart<\/a><\/span> #artexhibition<\/a><\/span> #malaysia<\/a><\/span> #kapallorek<\/a><\/span> #artspace<\/a><\/span> #balaiseninegara<\/a><\/span> #portipoh<\/a><\/span><\/div>\n<\/div>\n
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NOMAD- In the Art Realm<\/b><\/p>\n

Must an artist consistently explore a single theme throughout their entire practice? Is it necessary for artists to be confined to a single form of creation? These questions arose in my mind when I was offered the opportunity to curate this exhibition by Kapal Lorek Art Space. These questions may arise due to my observation of the significant emphasis placed on the art object in the contemporary art world, which creates several issues regarding the essence of art itself. Among the matters is an approach that emphasizes factual accuracy, literal representation, and concrete details at the expense of creativity, emotional expression, and subjective interpretation. This kind of approach might prioritize technical skill and realism, focusing on depicting the world exactly as it is without leaving room for the artist’s vision or the viewer’s imagination. I regard these questions as an entry point to \u201cNomad- In the Art Realm\u201d, on how we as an art audience look at (perceive) art.<\/span><\/p>\n

Etymologically, the term “nomad” originates from the Middle French word “nomade,” which itself is derived from the Latin “nomas,” “nomadis.\u201d According to the Oxford English Dictionary, a “nomad” is “a member of a people that travels from place to place to find fresh pasture for its animals and has no permanent home.” This definition underscores the traditional pastoral nomadic lifestyle, where movement is primarily motivated by the search for new grazing grounds for livestock. The term “digital nomad” has also emerged in recent years to describe individuals who leverage technology to work remotely while travelling.<\/span><\/p>\n

In the context of this exhibition, the term “nomad” is appropriated to illustrate the flexibility, dynamism, and mobility of Ammar Idris, Fadillah Ghani, Heidhir Hamdan and Izzat Aziz in their art practice. This implies that the artists exhibit the capacity to adapt to various situations, spaces, and times, akin to nomads who relocate according to their needs and circumstances.<\/span> Like the way Heidhir delves into dystopian future technological forecasts, he employs digital animation as a fitting medium to express concepts that resonate with today’s digital landscape. The mobility in art signifies the freedom and ability to operate in diverse objects, thereby enriching and adding variety to their artistic outputs. Looking at artworks created by Fadillah which are not confined to a single object, offers multiple interpretations. Fadillah tried to convey a message about her tinnitus condition through two mediums: paintings and video works, somewhat a juxtaposition of physical and emotional, spiritual dimensions. Ammar Idris combined his art forms (participatory, video and drawings) into one to convey his singular intentions. One might look at this as overwhelming, but in my view, it suggests the possibility for art to be translated through multiple forms. In the end, it is not the form that matters, but the content that takes place through it. In the meta modern era, artists are no longer bound to a single object of creation. This signifies a shift towards greater creative freedom, allowing them to explore a variety of mediums, styles, and concepts. This flexibility enables artists to adapt and innovate, continually redefining their practices and expressions without being confined to traditional or singular forms of art.\u00a0<\/span><\/p>\n

One might wonder about the lack of beautiful artwork in NOMAD, as art enthusiasts are always on the lookout for such pieces through art exhibitions. I believe that none of the participating artists intended to address beauty through their artwork. However, this does not imply that they (nor am I) are opposed to beauty. Beauty, which is synonymous with Formalism has been glorified and perceived as the primary focus of art since the 1930s. Some problems arise in looking at art through a Formalist lens that includes the limitation of interpretation. Formalism\u2019s narrow focus restricts the interpretative possibilities of art, potentially stifling deeper critical engagement and appreciation of the work\u2019s multifaceted nature. By concentrating on internal formal properties, formalism often neglects the artwork’s external relations, historical context, and the myriad ways it interacts with the world. This art exhibition invites the audience to engage with the artworks beyond mere material and technique, urging them to penetrate the emotional and intellectual realms inhabited by these young artists. It is improbable that their works can be aptly interpreted through a formalist lens. For instance, how might one discern the beauty in Izzat Aziz’s installation art solely through the examination of line, texture, or color? And even if such elements are identified, what profound significance might we extract from them? Graham Harman in his <\/span>Art + Objects<\/span><\/i> stated <\/span>that objects, including artworks, possess a reality that is not exhausted by their perceptual or formal attributes. This ontological richness requires a broader, more inclusive approach to art that recognizes and engages with the complex interplay of visible and hidden aspects. In summary, Graham Harman\u2019s critique of formalism in art challenges the reductionist view that art can be fully understood through its formal properties alone. He advocates for a deeper, object-oriented approach that acknowledges the rich, complex reality of artworks beyond their perceptual features.<\/span><\/p>\n

Seeing is believing,\u2019 as the adage goes. The experience of reality serves as the wellspring of artistic creation, reflecting the truths these artists encounter in their own lives. While their experience is inherently personal, it nevertheless resonates with us on a universal level, revealing shared truths that transcend individuality. Ammar Idris, for instance, has engaged with the cultural phenomenon in Sewon, Yogyakarta, where the warmth of the locals toward foreigners and their deep appreciation for art left a profound impression on him. His experience invites us to explore the cultural and geopolitical dynamics that shape the identity of the Yogyakarta people, offering valuable insights into the essence of human relationships that transcend race, religion, and regional boundaries. While Heidhir Hamdan feels compelled to share his experiences and convey his perspectives on the technology of today, addressing us\u2014who are, in large part, avid users ourselves. He perceives the pervasive use of social media, advanced machinery, electronics, and Artificial Intelligence (AI) as a potential threat to humanity’s future, should we lose control over it. The onset of the Covid-19 pandemic, a pivotal event not only for Heidhir but for all of us as global citizens, has fundamentally altered how we navigate life. Drawing from his knowledge and experiences, Heidhir seems intent on awakening our sensitivity to this equally significant issue.\u00a0<\/span><\/p>\n

Fadillah Ghani, who is currently living with tinnitus, shares her approach to managing and healing her condition. As a Muslim, she believes that a combination of scientific and spiritual methods offers the most effective path, recognizing the intrinsic connection between the physical, mental, and emotional aspects of the human experience. Her sharing underscores the importance of maintaining a balance among these three elements, each supporting the other in harmony. More significantly, it highlights the cultivation of faith in the existence of the Supreme Creator, who ordains both health and illness. Izzat Aziz holds deep enthusiasm for his hometown, Kampung Manjoi, Ipoh, reputed to be the largest Malay village in Malaysia. Having grown up in a village established in 1900, Izzat has undertaken a study of the landmarks that line its winding roads, marking them as symbols of appreciation for the village\u2019s intricate pathways. His vibrant art installations are a testament to the enduring cultural heritage of Kampung Manjoi, capturing its festive spirit. Indeed, a place leaves an indelible psychological imprint on our memories, fostering a meaningful love and sentimental attachment. Through his imaginative interpretations and concepts, Izzat seeks to document the memories of this place\u2014not through realistic quotations or camera lenses, but by inviting the audience to feel the warmth that resides deep within his emotions. Such are the experiences that the NOMAD artists have sought to share, inevitably filtered through my own interpretations. It is my hope that the audience can connect these experiences with their own. However, the audience is fully entitled to interpret these artistic objects independently, free from the influence of the artists’ intentions, even if they lack prior experience or knowledge in the realm of art.<\/span><\/p>\n

Thus, the interplay between the dynamics of artistic creation, the varying experiences and the perspectives of the audience shapes the interaction with art, ultimately leading to moments of contemplation. An object, if left merely as an object, becomes meaningless and devoid of purpose. As for NOMAD, the dynamism in art is much appreciated as a form of expression.\u00a0<\/span><\/p>\n

Syakir Hashim<\/span><\/p>\n

Curator\u00a0<\/span><\/p>\n<\/div>\n

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