The art of the game

EVERY Mid-Autumn Festival and Chinese New Year, visitors faithfully flock to Kwai Chai Hong alley in Chinatown, Kuala Lumpur for a glimpse of its latest themed art installation.

Unveiled in celebration of each festive season, the immersive outdoor installations have never failed to captivate with their creativity and storytelling, and this year’s Chinese New Year display, Rise of the Dragon, is no different.

The traditional game of Mahjong takes centre stage at the heritage lane this season, with a classic green-topped game table occupying the middle of the space. From there, the Mahjong tiles appear to come to life, drifting up and hanging suspended mid-air, while a silhouette of a dragon glides overhead.

In the Mahjong-themed installation, parallels are drawn between the Chinese game and the Year of the Dragon through the symbolism of a fresh start filled with renewed vitality.

“Just like how each Mahjong game is played, the start of the game is where both our hands are mixing the tiles in fluid circular motions and rhythms, like the ascension of the Dragon’s spirit slithering awake from its slumber,” explains Zeen Chang, managing partner of Bai Chuan Management, the company behind Kwai Chai Hong.

Tiles that bind

As with previous installations at Kwai Chai Hong, Rise of the Dragon is the unique result of a collaboration with local artists: Wong Jia Min and Lee Chaer Shean of Johor Bahru-based design studio plus + plus. The duo tells us that the central theme of Mahjong was chosen because it is heavily imbued with meaning that particularly resonates with Chinese New Year celebrations.

“We really loved how Mahjong brings together a whole family across generations when they reunite for Chinese New Year, and how it provides a common platform for communication,” shares Wong.

“During childhood, when we heard the reshuffling sound we always knew it meant people were gathering around for the festivities, but it also represents the reset of a game in Mahjong — similar to how the new year marks a fresh beginning.”

Having worked on the project since November, the artists say the installation gave them an opportunity to experiment with different aspects of their craft.

Lee says, “As architects, we are very interested in placemaking and want to better understand how users experience outdoor spaces. We have never worked with an outdoor setting for an installation, so this is something new for us that we got to explore with Kwai Chai Hong.”

“Additionally, we also got to bring our art closer to the visitors so that they can interact with it. If you come visit, you’ll see the panels are hung low so that people can actually touch and feel the materials being used.”

A balancing act

The artists constructed the hanging Mahjong tiles out of acrylic panels, while wire mesh was the material used to represent the spirit of the dragon.

When planning and assembling the installation, Chang noted that in addition to local weather conditions, a major consideration was the risk of damage by visitors. Despite continual reminders to be gentle with the artworks and sculptures at Kwai Chai Hong, incidents involving broken pieces have been an ongoing problem over the past few years.

The managing partner, however, insists on keeping the art installations and displays easily accessible for users to interact with.

“At Kwai Chai Hong, it’s always been about inclusivity, in the sense that everyone should be able to be involved in the installation,” she asserts. “Even though there is that 10% of people who come in and don’t appreciate or respect the art, we should not punish the other 90% who are appreciative and respectful.”

With every new installation, she hopes to encourage gradual improvement in awareness and carefulness around public art pieces.

“We want the visitors to be able to touch and feel the hard work that the artists have put in. The art combined with the tactile aspect — that’s what makes it magical.”

This article first appeared in Star Biz7 weekly edition.