Thangarajoo RIP

I was saddened to hear of the passing of my friend and fellow Malaysian Indian artist Kanniah Tangarajoo on Malaysia’s 66th National day, a few days before his own 66th birthday. I only got to know Raj well late in his career but had the honour of being asked to officiate his solo show, ‘The Pulse of Creation’ at the NSTP Gallery in January 2016. The above image is the prized gift he gave me to mark the occasion. While my own approach as an artist involves conceptualism and more indirect forms of expression, my early drawings and paintings were rooted in the same vitalism and mind-body connection that I saw in Raj’s work. I felt a deep empathy but, more significantly, I saw in the exhibition, the fruits of a lifelong commitment to developing a graphic expression of an inner impulse – an impulse so deeply set that the resultant drawings (the works were mainly rendered in line) seemed to visualize vast expanses of the cosmos and the inner workings of matter itself. I was deeply moved by his vision and extremely happy to deliver the opening address. Rest in Peace Thangarajoo.

Ukraine: The Avant-garde – Malevich

Black Square 1915

Kazimir Malevich is known in art history as a pioneer of modernist abstraction. Malevich was born in Kyiv to an ethnic Polish family. While he began his art studies in Ukraine, he did his most important work after he moved to Moscow in 1904 and is considered to be a leading artist of the Russian avant-garde. His seminal Black Square (1915) has become an emblem of the abstract tendency that culminated in the post-painterly tendencies identified as color field painting and hard-edge abstraction. Malevich returned to Kyiv to teach at the Kyiv State Art Institute (now the National Academy of Visual Arts and Architecture) between 1927 and 1929. Along with Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, and others, Malevich is claimed by Ukrainian art history for the Ukrainian avant-garde.

https://en.wikipedia.org/wiki/Kazimir_Malevich

https://www.stedelijk.nl/en/exhibitions/kazimir-malevich-and-the-russian-avant-garde

https://prabook.com/web/kazimir.malevich/3742740

http://www.encyclopediaofukraine.com/display.as

Early Internet Art in Malaysia 6

In 1998, I made my 2nd web art work titled La Folie de la Peinture (The Madness of Painting), fragments of which are archived on the Wayback Machine site. This was a comprehensive, if condensed, articulation of my critique of the movement from modernist abstraction, via conceptualism, to the photographic ontology of postmodern installation and performance art. My own practice had been evolving along this trajectory until, in the mid 1990’s, I found the World Wide Web with its capacities for instantaneous connectivity, hypertextual linking and multimedia convergence. La Folie de la Peinture was featured in the 2nd Multimedia Asia Pacific Festival (MAAP) 1999,: COLLAPSING GEOGRAPHIES online exhibition which was part of the Third Asia Pacific Triennial, Screen Culture and Virtual Triennial program.

The opening image of this navigational work was a direct flatbed scan of a bottle of Cuvée Tradition French wine that we had recently consumed. The two hyperlinked hotspots on the image that took the user through to the rest of the work were a ‘black square’ and the word ‘ZIP‘, references to the endgame in American hard-edged abstraction. Black square took the user through to a set of photographic images, remediated documentation, of an installation made at the Tower House Studios, Goldsmith’s college, London in 1991. These images were linked in such a manner as to enable a simulation of the navigation of the space and the experience of each ‘work’ in the new web ‘space’ as a reinterpretation in multimedia for online viewing. This part of the web work was augmented with physical objects from the original installation and a new desktop VR interface, when La Folie de la Peinture was presented at the Substation, Singapore in 2001 in a two-person show with Joe Lewis titled, Layers … Reality … Memory.

ZIP‘ took the user through to a modified image of a vulgar performative intervention I made in 1995. at the site of Bernard Tchumi’s architectural reification of the deconstructive ethos at the Parc de la Vilette, Paris.

https://web.archive.org/web/19990826231718/http://www.kunstseiten.de/installation/

https://www.maap.org.au/exhibition/maap-1999-collapsing-geographies/

http://tschumi.com/projects/3/