The Malaysian Insight

THE censorship row over Ahmad Fuad Osman’s artworks at the National Art Gallery must not be repeated at the Kuala Lumpur (KUL) Biennale 2020 in September, said artists and gallery owners.

The gallery is already suffering from a bad reputation following its removal of four of Fuad’s pieces, and the KUL Biennale, an international exhibition of contemporary art, should not create issues that could lead to boycotts, they said.

Fuad’s artwork has been reinstated but curator M. Jaafar Ismail said the damage has been done.

Jaafar, owner of Fergana Arts studio in Kuala Lumpur, said NAG has invited local and foreign artists to exhibit works at the Biennale, to be held from September 1 to February 28 next year at different locations, including airports.

“But I’m not sure how many artists will accept the gallery’s invitation. The recent incident (involving Fuad’s work) shows that censorship is real and is a threat to art here,” he told The Malaysian Insight.

Penang Art Gallery chairman Lee Khai said the recent controversy involving Fuad’s paintings led some art collectors who’d loaned works to NAG to demand the return of the pieces unless Fuad’s works were reinstated.

Lee disagreed with any boycott, calling it a step too far.

“We don’t have to take it to that level, it should not compromise our efforts to hold the Kuala Lumpur Biennale 2020. It would be a great opportunity to showcase our talent. We should not let go of that opportunity,” said the festival curator for the Art Penang 2020 show.

NAG relented and reinstated Fuad’s work after Deputy Tourism, Arts and Culture Minister Muhammad Bakhtiar Wan Chik intervened.

The gallery will have a hand organising the KUL Biennale, as its director-general Amerrudin Ahmad is also the biennale’s artistic director. The biennale is organised by government agency, Lembaga Pembangunan Seni Visual Negara, which also manages the national gallery.

Former NAG director Wairah Marzuki questioned how decisions are being made at the gallery. Usually, decisions on an exhibit are made before the work is displayed and not after it is put up.

“During my time there from 1972 to 2005, no such incident ever happened (where a piece is taken down after it is put up). I just hope that it will not affect the KUL Biennale 2020,” she said.

Fuad’s four pieces were part of retrospective At The End of The Day, Even Art is Not Important (1990-2019). The exhibition began in October last year but the artworks were only removed earlier this month.

One of the pieces deemed controversial was a painting Imitating the Mountain, which shows a naked man lying in front of a mountain range.

Another titled Dreaming of Being Somebody Afraid of Being Nobody was deemed politically offensive. It depicts the faces of Economic Affairs Minister Azmin Ali, Prime Minister Dr Mahathir Mohamad and PKR president Anwar Ibrahim.

Censorship blues

Defending its decision to take down the pieces, gallery director Amerruddin said as an “institutional gallery” funded by the government, it had to “act according to its norms and discipline”.

But Galeri Seni Kuala Lumpur owner Maizon Omar said such an explanation was too arbitrary. Before the KUL Biennale 2020 draws any nearer, the authorities must set clear parameters and justifications if any censorship is to take place, he said.

“Those in power have to think carefully just what it is they want to censor.

“Our country is new (when it comes to) learning to appreciate different types of art, compared to other countries. The world is moving on, and we are getting left behind.”

Despite the ruckus NAG caused within the art community, artist Norlisham Selamat said she still planned to participate in the KUL Biennale 2020.

But she had strong words for NAG, describing its professionalism as below par compared with other countries.

“I long avoided working with them. They have offered solo exhibitions to me twice and I refused. I refused the first time in 2014 and the second time last year.

“They don’t work as a national art gallery should. Look at Australia, Singapore, which are good examples of galleries, we see many examples of good work, but what has (the NAG) done? They don’t have the right work culture.” – February 19, 2020.