Tonight, I was surprised to learn that a laser printed photograph could evoke the experience of a latent image in the darkroom. Working with Photoshop, the greatest satisfaction for a printer like myself is to see the print appearing as good as on the screen.
Poulpe (2006)
My installation work Residence Time (2025）is
now showing @kadistkadist in Paris until July in the group exhibition "The Plantation Plot" curated by @sheauthings ! Sharing with you are some behind-the-scenes views taken during the exhibition setup.
The surprise for this presentation is for us to discover that palm oil solidifies at a temperature between 24-19°C, which is never an issue in the tropic like the Malaysian weather.
A big thank you to the KADIST team for the logistics and coordination; @qiwennd for helping to source for the pebbles; and the picture credit in this post goes to @sheauthings .
There are three huge mahogany trees planted by the developer at the border of our lot about three decades ago. We have been hesitant about taking any action from the beginning of the construction of our house. Eventually, the tree cutting company came two days ago and gave the trees a belated trim. Hopefully, we human could coexist with these sacred beings in the future.
Living in her time, 2025
Installation at @thegodownkl
The city has always created a membrane to prevent memory seepage, whereas the mosaic tiles that I found at a nearby construction site are nothing but the byproducts of the ecdysis of the old building. Looking at the pattern of the shedded old skin, I am reminded at the same time by the city that lightness of progress comes from amnesia. However, it is perhaps more potent to look into the elasticity of time if one is desperate for a remedy to cure the aches and pains acculmuted in the process of the regeneration.
We’re honoured to announce Minstrel Kuik as the first of three special mentions for Objectifs’ inaugural Women in Focus Art Prize!
A multidisciplinary artist whose work spans photography, painting, textiles, drawing and installation, Minstrel explores gender, identity and the politics of place through a deeply personal yet socially resonant lens. Her cross-cultural perspective gives her work both conceptual depth and poetic sensitivity. Exhibited internationally, from Paris to Taipei to Singapore, Minstrel’s practice continues to shape conversations in contemporary art across Asia and beyond.
Stay tuned as we reveal the remaining special mentions, runners-up and winner of this year’s inaugural prize. Thank you to all nominators and our esteemed jury for this year’s inaugural prize. Your support ensures that we continue to spotlight and celebrate the immense talent of mid-career artists across Southeast Asia!
#WomeninFocusArtPrize #ObjectifsOpenCall
GALLERY NOTICE / Last weekend to catch Nobody Exists in a Still Life. Don’t miss the last few days!
[Remaining Exhibition Days]
Thurs 16 Oct, 12 noon – 7 pm
Fri 17 Oct, 12 noon – 7 pm
Sat 18 Oct, 12 noon – 7 pm
Sun 19 Oct, 12 noon – 5 pm
Images: 1) Installation view of Nobody Exists in a Still Life at Haridas Contemporary
2) Excerpt from eCatalog essay by Samuel Lee
3) Excerpt from eCatalog essay by Samuel Lee
Access the full essay by via the link in our bio.
#HaridasContemporary #MinstrelKuik #StillLife #ContemporaryArt
On View Now: Nobody Exists in a Still Life by Minstrel Kuik – Until 19 Oct 2025
Gallery Opening Hours
Thurs to Sat: 12 noon – 7 pm
Sun: 12 noon – 5 pm
Wed by appointment only
Mon, Tues & PH: Closed
This new body of work by Malaysian artist Minstrel Kuik (b. 1976) comprises eight paintings and four fabric-based installations, which develop almost three decades of an artistic career spanning photography, painting, drawing, and installation. As extended meditations on process and methodology, these works highlight Kuik’s deep examination of the artistic process, something tantamount to a phenomenology of artmaking.
Images: Installation views of Nobody Exists in a Still Life by Minstrel Kuik.
#HaridasContemporary #MinstrelKuik #StillLife #ContemporaryArt
About the same time, I was looking at these drawings in my notebook of a future painting, next to the poem Address by Sohrad Sepehri, thinking of Marcel Duchamp's assemblage Étant Donnés.
Although applying reverse engineering in a painting process is somehow reductive but it does give you the audience a sense of time marked by irresolution, deviation and decision-making.
The last slide with the blank canvas on the easel was taken on March 1st, 2024.
I have always been fascinated by the hand gesture and its link to language and perception. Sharing with you here are a handful of images taken for my study of the observational paintings.
Nobody exists in a still life is going to open tomorrow at Haridas Contemporary. Hope to see you in person!
![GALLERY NOTICE / Last weekend to catch Nobody Exists in a Still Life. Don’t miss the last few days![Remaining Exhibition Days]Thurs 16 Oct, 12 noon – 7 pmFri 17 Oct, 12 noon – 7 pmSat 18 Oct, 12 noon – 7 pmSun 19 Oct, 12 noon – 5 pmImages: 1) Installation view of Nobody Exists in a Still Life at Haridas Contemporary2) Excerpt from eCatalog essay by Samuel Lee3) Excerpt from eCatalog essay by Samuel LeeAccess the full essay by via the link in our bio.#HaridasContemporary #MinstrelKuik #StillLife #ContemporaryArt](https://sp1.picnob.com/p/pt_6764554151506013736657_0_3df04c3b1fbbc8c3fb7a201dd3e19581.jpg?o=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&h=2b2021871b36388ce79073b597a9511b)
