A Colloquy
A kolokoui? A colloqu茅e? A Colloquy.
鈥淢ost of our misunderstandings of other people are not due to any inability to hear them or to parse their sentences or to understand their words鈥� A far more important source of difficulty in communication is that we so often fail to understand a speaker鈥檚 intention.鈥� (Miller, 1974, as cited in Thomas, 1983, p. 91).
Human communication has come a long way since the Lascaux cave paintings, with anthropologists and art historians having long debated over the intended message of these Paleolithic artworks. What were those people trying to express? Drawing parallels to contemporary artists, artists create because they have something to say. More often than not, contemporary artworks encourage discourse. In this spirit, step into a conversation with Wei-Ling Gallery through the group exhibition titled, 鈥楢 Colloquy鈥�. The exhibition features eight contemporary artists: Choy Chun Wei (Malaysia), Cian Dayrit (Philippines), H. H. Lim (Malaysia), Ivan Lam (Malaysia), Kameelah Janan Rasheed (United States), Marcos Kueh (Malaysia), Tan Zi Hao (Malaysia), and Yin Yin Wong (The Netherlands). Among them, Cian Dayrit and Kameelah Janan Rasheed are exhibiting in Malaysia for the first time.
This digital era has led to a boom in visual communication to which typography and fonts must be taken into consideration in conveying the subtle nuances of language. Furthermore, language, text, and words have developed their own meanings according to the cultural context of that region through the sharing of ideas, language, and cultures. Even different generations have their own lingo that are indicative of their time. The amalgamation of all these things results in a unique way of communication that makes sense to the people that are familiar with it whilst being confusing to those not in the know. Such heterogeneous ways of communicating may lead to what Jenny Thomas (1983) coined as 鈥楥ross-Cultural Pragmatic Failure,鈥� a phenomenon where miscommunication arises due to misinterpretation.
鈥楢 Colloquy鈥� gathers 8 artists whose works challenge the viewer鈥檚 perception of language and font, highlighting the inherent fluidity and interpretive nature of text in art. The artists explore text as a visual element by deconstructing and reimagining fonts, prompting reflection on the evolution of language and its inherent ambiguity. This exhibition highlights how the artists use fonts and words to craft dynamic narratives, emphasising that while language remains structurally constant, it evolves through cultural shifts, technology, and interpretation. Their choices of font鈥攊ts style, weight, spacing, and size鈥攕hapes how text is perceived. Demonstrating that despite its seemingly straightforward nature, the visual presentation of text can evoke diverse emotions.
By examining how societal shifts, digital fonts, and global communication influence text, using it both as art and a mirror of changing times, this assemblage of works seeks to provoke thought on how we read, interpret, and interact with language in an ever-evolving world. The interplay between script, language, calligraphy, and visual art is central to the focus of this exhibition. As in a world where technology and typography move in parallel, the written language exists in a fragile equilibrium.
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A kolokoui? A colloqu茅e? A Colloquy.
鈥淢ost of our misunderstandings of other people are not due to any inability to hear them or to parse their sentences or to understand their words鈥� A far more important source of difficulty in communication is that we so often fail to understand a speaker鈥檚 intention.鈥� (Miller, 1974, as cited in Thomas, 1983, p. 91).
Human communication has come a long way since the Lascaux cave paintings, with anthropologists and art historians having long debated over the intended message of these Paleolithic artworks. What were those people trying to express? Drawing parallels to contemporary artists, artists create because they have something to say. More often than not, contemporary artworks encourage discourse. In this spirit, step into a conversation with Wei-Ling Gallery through the group exhibition titled, 鈥楢 Colloquy鈥�. The exhibition features eight contemporary artists: Choy Chun Wei (Malaysia), Cian Dayrit (Philippines), H. H. Lim (Malaysia), Ivan Lam (Malaysia), Kameelah Janan Rasheed (United States), Marcos Kueh (Malaysia), Tan Zi Hao (Malaysia), and Yin Yin Wong (The Netherlands). Among them, Cian Dayrit and Kameelah Janan Rasheed are exhibiting in Malaysia for the first time.
This digital era has led to a boom in visual communication to which typography and fonts must be taken into consideration in conveying the subtle nuances of language. Furthermore, language, text, and words have developed their own meanings according to the cultural context of that region through the sharing of ideas, language, and cultures. Even different generations have their own lingo that are indicative of their time. The amalgamation of all these things results in a unique way of communication that makes sense to the people that are familiar with it whilst being confusing to those not in the know. Such heterogeneous ways of communicating may lead to what Jenny Thomas (1983) coined as 鈥楥ross-Cultural Pragmatic Failure,鈥� a phenomenon where miscommunication arises due to misinterpretation.
鈥楢 Colloquy鈥� gathers 8 artists whose works challenge the viewer鈥檚 perception of language and font, highlighting the inherent fluidity and interpretive nature of text in art. The artists explore text as a visual element by deconstructing and reimagining fonts, prompting reflection on the evolution of language and its inherent ambiguity. This exhibition highlights how the artists use fonts and words to craft dynamic narratives, emphasising that while language remains structurally constant, it evolves through cultural shifts, technology, and interpretation. Their choices of font鈥攊ts style, weight, spacing, and size鈥攕hapes how text is perceived. Demonstrating that despite its seemingly straightforward nature, the visual presentation of text can evoke diverse emotions.
By examining how societal shifts, digital fonts, and global communication influence text, using it both as art and a mirror of changing times, this assemblage of works seeks to provoke thought on how we read, interpret, and interact with language in an ever-evolving world. The interplay between script, language, calligraphy, and visual art is central to the focus of this exhibition. As in a world where technology and typography move in parallel, the written language exists in a fragile equilibrium.
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