The burqa ban & copying reality

Date

11 Oct 2017 to 27 Oct 2017

Time

Noon-7pm, Tues-Sat

Venue

A+ Works of Art, d6-G8, d6 Trade Centre, 801 Jalan Sentul, 51000 Kuala Lumpur

Contact

018-333 3399

Kadang Kadang Dekat Dekat Akan Datang No.3, is the third showcase of works by collaborating artists at A+ art space. The title refers to a riddle in the 1959 Malay movie, Nujum Pa’ Blalang, by the late actor-singer-director P. Ramlee.

This exhibition features works by Thai artist Ampannee Satoh (b.1983, Pattani) and Japanese contemporary artist Kentaro Hiroki (b.1976, Osaka).

Burqa series (2010) by Satoh is a response to French politics that has an impact on religion, multiculturalism and lifestyle choice. 

In 2010, the France government passed a law prohibiting the concealment of one's face in public space, including the wearing of burqa, the traditional outer garment worn by women in some Islamic traditions. 

Supporters of this ban of religious garb defend their stand by citing issues of security, social cohesion and sexism. 

For them, banning the burqa allows clear identification of a person, eases facial recognition and expression in communication, and frees women of traditional religious practices. 

In reality, the ban has intensified feelings of oppression on female Muslims, throwing deep doubts into concepts of liberty, fraternity and equality that are highly valued in French society. 

The photographs of female Muslims wearing the burqa — head-to-toe covering in blue, white and red, the colours of the French flag—against iconic landmarks in France, reflect Ampannee's call for the diversity of rights.  

Kentaro Hiroki has been working on various projects in which he creates realistic copies of originals using pencil drawing. 

His work deals with the parameters of the value of objects, in the tradition of "wabi-sabi" and the concept of impermanence. 

His process begins with looking at the condition of the original object and its surroundings, then  reproducing the image by drawing it while paying attention to the signs of the passage of time (e.g., mark, scratch, stain & damage). 

He then installs his pieces in specific manners to transform the space into a metaphysical room — with both his physical copies and the space they occupy by creating a single conceptual piece. 

Each installation reflects the concept of irony and the silent thought behind it. His most recent work, Rubbish, was exhibited at the Singapore Biennale 2016. 

Back of Photograph is a series of early conceptual drawings, which play on the notion of authenticity. 

A collection of photographs purchased at a flea market in London were reproduced by the artist in Sweden. 

The reproduction of scribbles and notes on the back of each photograph lends a sense of identity and authority. Each piece which is "further strengthened" by stamps that read, "Please return to" and "Copyrightof other people or organisations.