Framing a unique vision
The In Our Own Frame exhibition offers an insight into the development of some of Malaysia’s most recognised contemporary artists.
THIS month, Richard Koh Fine Art commemorates its 15th year in Malaysia, something that gallerist Richard Koh himself probably never imagined when he set up the place all those years ago.
He had been an art advisor and consultant since the early 1990s, but never had the intention to run an art gallery. That is, until serendipity struck in the form of disgruntled artists.
“Some artists who were not very happy with their galleries approached me to show their works. Since I was already selling their works to clients, I thought ‘why not?’ I just used an existing space I had and started organising shows for them. And that was how the gallery came about,” relates Koh, 55.
Within a year, the gallery started showing these artists’ works regionally and collaborated with other galleries to promote them.
With these, the wheels were set in motion, and Koh has not looked back since.
His first space in Kuala Lumpur (on Jalan Tempinis in Bangsar) – in his interior design company’s office – was set up in 2005.
From there, the gallery has moved its base several times around Bangsar, including to a mall.
It is currently in its new, rather low-key, home on Jalan Telawi 2.
“I don’t drive so everything must be within walking distance,” says Koh.
The gallery also has spaces in Singapore and Bangkok, Thailand. The former was set up a decade ago, while the Bangkok outfit is three years old.
According to Koh, the small project space in Bangkok is mainly for young Thai artists who have no platform to showcase their works.
“It is really more of a non-profit space,” he says.
After all these years, only a few from the first group of Malaysian artists to work with Richard Koh Fine Art, are still with the gallery today. But Koh has carved quite a reputation as someone who works a lot with young artists.
He is also able to say, with pride, that many of them have gone on to make a name for themselves not just in the local art scene, but in the international arena.
“The few local young artists that we have developed with in recent years, like Haffendi Anuar, Yeoh Choo Kuan and Hasanul Idris, are doing very well and have made a name for themselves in the region. I am also very proud of the fact that many South-east Asian artists that have had their first show out of the country with us, have managed to make a name for themselves in their home countries.
“In a way, we have given them a platform to launch their career and helped open doors,” he says.
Time after time
Koh recalls that in the late 1980s and early 1990s, the local art scene was a small one, and there was no real promotion or direction.
“There were fewer collectors back then, but you could say that they were really patrons of the arts. They supported local artists and galleries and were really in it for the appreciation of the works. But now, it is more of an investment business; there are no real art critics, no real competition for the industry to develop.
“Everything is always nice and sweet and positive,” he says.
Lest you think that much has changed with the situation now, Koh laments otherwise. Progress and development are surely not words usually associated with the art market here, and it is for a good reason.
“Unfortunately, it is still in the same spot, albeit with more newcomers joining the fray. Nothing much has changed, most galleries and artists are still operating in the same manner as back in the 1980s and 1990s.
“We do have some young galleries and artists trying to look at a bigger picture and working very hard to make their mark, but it is difficult as old habits die hard and the stakeholders have no understanding of how the art scene actually works,” he says.
No doubt, our local art industry is often said to be nowhere as vibrant as it is in other countries. We just have to look to the thriving art scene in neighbouring Singapore or Thailand for an idea of how different our reality is.
“Due to the scene here being so cliquey, everyone just ends up doing their own thing, in the same formulated way,” he notes.
So do we need more time for the industry to take off? Or is it perspective and education – or rather, a reeducation – that is necessary?
After all, Koh concurs that there are more people – including the general public – who are interested in art now.
There are art events like Art Expo, Gallery Weekends and the recent Artober put together by CIMB. There is also an increasing number of auction houses in KL.
There are lots of art events happening throughout the year, but it is not as widely promoted or widely known as it should be, Koh says.
He also highlights that collectors hardly venture outside the few spaces and artists that they are comfortable with.
“In my opinion, the curiosity factor is missing. The scene needs to think out of the box, stakeholders need to reinvent the wheel, and we need to encourage diversity and healthy competition. The main issue is that most people are not open enough to explore the new,” he says.
But Koh remains positive and looks forward to post-pandemic changes, even if he knows it won’t happen overnight.
“As the world changes, so will the art and so will the patrons and collectors. It will take time to play out but there will be a time in the near future – and perhaps it is already happening now – that the old loses its relevance and the new people coming into the scene bring with them a new visual appreciation.
“One can’t really expect the younger crowd to be collecting what their parents or grandparents collected, and art is really a recording of the time. I think time just stood still in the Malaysian art market,” he says.
Weathering the storm
Few have been spared the consequences of the pandemic and the art industry is one that has been hard hit.
Koh doesn’t mince his words when asked about what the year has been like and how he and his team are bracing themselves for tougher times ahead.
“It has been devastating, and there is no help in sight. It is stressful and disruptive for many in the art business. But we need art, it is essential and it is everywhere. We just need to get on with it and do the best we can,” he says.
However, it is not all gloom and doom for the gallery, as Koh has been anticipating a major slowdown for a while now. He has been preparing for challenging times ahead, but of course, he never thought it would be as abrupt or disruptive as what we are currently experiencing as a result of the pandemic.
“Since 2018, we have been recalibrating our programming and plans. Moving forward, we will still be doing what we have been doing for the last two years, but with a pared-down approach and with a focus on developing with our existing artists from the region.
“Even though we were not entirely caught off guard by what is happening this year, we are nevertheless badly affected.”
Still, Koh is certainly not ready to throw in the towel just yet.
In the middle of the pandemic, where businesses are closing down and many art galleries and museums are temporarily shuttered, he has initiated collaborations with other galleries and artists.
For instance, the Right Here! Right Now! Gallery Weekend in October, where five galleries in the Klang Valley came together to showcase art from five young artists.
Last year, the gallery held an Open Studio with two other galleries – Artemis Art and Core Design – during Art Expo 2019, with support from Art Expo and the National Art Gallery.
Despite the less-than-rosy outlook for next year, Koh remains optimistic about putting together another 2021 event and is pondering on the possibility of the formation of an art gallery association.
“I have always believed in collaborations, it was how we started 15 years ago. Collaborations are important as you cannot be doing everything around the world yourself, and you can’t possibly know everyone.
“Galleries need to protect themselves here and I think the time is ripe for Malaysian galleries to work together moving forward, as it has been the biggest victim in the local art scene,” he notes.
A fitting nod to the gallery’s 15th anniversary, there is a group exhibition titled In Our Own Frame at Richard Koh Fine Art that showcases the works of 11 regular artists in the gallery roster.
They are Anne Samat, Eiffel Chong, Gan Chin Lee, Hasanul Idris, James Seet, Justin Lim, Minstrel Kuik, Tan Wei Kheng, Wong Perng Fey, Yeoh Choo Kuan and Zelin Seah.
Lim, who has had five solo shows with Richard Koh Fine Art since 2013, is appreciate of the opportunities to expand his art at the gallery.
“Being constantly engaged in my studio practice and allowing that room to grow and develop is something that I cherish as an artist. I am constantly keeping the gallery informed of my ideas and practice as both the artist and gallery have different strengths and roles to play in presenting the work to an audience.
Having that dialogue is important to me and just like in any relationship, trust plays an essential part of the artist/gallery dynamics,” says Lim.
Hasanul points out that the gallery has opened many doors for him.
“The gallery not only invests in exhibitions, it also serves as a platform for me to learn the ways of the art scene and market. Also, when we are abroad (exhibiting), we can learn to situate our practice and understand the state of our country’s art scene ... in a bigger perspective,” concludes Hasanul.