Realpolitik

Artists have always been seen (or wanted to be seen) as a rebellious bunch; an entity that defies categorisation or organisation. A beautiful semi-functioning anarchy. A romanticised existence that is distant but ironically interdependent, and often left wanting. Wanting for audience or peer recognition. 

This therefore explains why artists are naturally drawn to controversial subjects such as political criticism. Political theatre and all its drama provides a treasure trove of subjects and low-hanging fruits ready for the picking. But these subjects are often time-sensitive. Observing the unfolding of events shows that a subject that may be interesting now will become irrelevant a week later when moves are made and new alliances are forged. This might explain why it seems a little difficult to produce major works as commentary. It demands time and careful consideration.

For example, works such as caricatures or periodicals are better suited for such political commentary. Serious paintings, however, could be positioned as a broader view of criticism. It is ill-suited as a mouthpiece for gossip and fast news. 

Regardless, that should not deter artists from producing interesting works. In the case of Malaysia, previous single party dominance in the government might have deterred most as it lent to strong censorship and prevented sharp commentaries. In the present however, we are poised to be in a unique period that may or may not come again in the future–oppositional sides of political parties are forced to form a unity government or risk instability. All competing sides had to sit at the same table and work things out, however unpleasant it may be. This should leave us artists a very fertile ground, no matter which side we are leaning on.

Criticism on either side could not be deterred or censored as easily as it could risk rejection from another. Artists should be the ones most fortunate in these times, as we are able to freely comment on issues, with only our common sense and decency as deterrence. I am waiting to see a more sweeping response from Malaysian artists.

An art movement is often born from a response or reaction–i.e Dadaism is a response towards the Great War, and Pop Art is a response towards post-war consumerism. The lack of critical response towards local politics in Malaysia could have been partly due to censorship, but as we pointed out, we are living in different times with more fluid power dynamics. This current show invites artistic responses to the situation, to nudge, prod and provoke, into making visual art as a layer of socio-political commentary normal again, and not as an exception to the rule. Realpolitik is not just what is being said and done, but it is also about what is not being said or done, in the name of practical politics.

Though local politics can change on a whim, an encompassing narrative can be deduced. Malaysia and its plural society are not mere passive bystanders. We are active participants, absorbing and transforming events around the region and the world. Consider the possibilities of commentary on the greater geopolitical themes–from tensions in the South China Sea, shifting powers in Asia with spotlights on Indonesia, Vietnam and India, climate emergency to concerns on AI dominating our lives. Observing them is like tuning into your favourite soap opera of the week. The challenge is greater, and the web of conflicting interests is even more treacherous–therein lies the challenge waiting to be answered.

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On the point of artists wanting peer recognition: unfortunately, it could encourage a tribalist approach. In the case of political art, it encourages bias and makes it difficult to be assertively neutral. The situation becomes compounded by the fact that some artists may be on the payroll of certain vested interests due to whatever financial or personal reasons, thus preventing their work to be sufficiently critical regardless of the immediate issues.

Art that is safe (i.e bipartisan or not conforming to extremes) might also be interpreted as non-challenging. This also explains why it is so difficult to find good political artists that toe the central line. One such rare example that I can point out would be Mohammad Nor Bin Mohammad Khalid (Lat), a cartoonist that uses clever forms of subtle criticism through humour, particularly during his tenure in the New Straits Times under the premiership of (then) Dr. Mahathir Mohammad. His approachable cartoons comment on the issues of everyday people, risking his own position by responding to the upper echelons that may be slighted by his comments. Never once, however, were the comments expressed in a spiteful or unnecessarily derogatory way, reflecting his own personality as an artist that sincerely wants to engage in meaningful conversation. Other cartoonists who do not shy away from politics like Zunar or Fahmi Reza often work with political satires which mock and criticise, but they may or may not necessarily trigger critical discussions. 

In the current exciting background of political turmoil however, deafening silence on pressing issues is a reminder that no artist is purely free from existential forces. The reality is no one is living in a vacuum and art is never entirely free. Art has its own politics too, action or deliberate inaction can be based on practical considerations. This is the realpolitik of art.

In painting, the subject of choice itself could be a troubling thought. The usual approach is to critique strongly, rather than to flatter. It is almost impossible to be flattering in political art: a negative response towards an issue would be seen as a critique, but a flattering view of any policy could be deemed as propaganda. No art or write-up is free from bias, and that includes mine. I see propaganda is an illness of the mind, and not of art. We should remember, however, that art is also governed by aesthetics, regardless of message or politics. The art of Soviet and Chinese propaganda have shown us that good artists will always shine through their artwork, though the message it carries might not be the best of its time. The nature of politics may make political art seem impossible, but art makes it possible regardless.