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The Irish Sun
08-08-2025
- Entertainment
- The Irish Sun
Inside the weird and wonderfully subversive home of Gorillaz where iconic band are brought to life
The exhibition promises to be 'like no other' and it certainly is a unique experience HOUSE OF KONG Inside the weird and wonderfully subversive home of Gorillaz where iconic band are brought to life GORILLAZ: HOUSE OF KONG Copper Box Arena, London ★★★★★ IN a discreet corner of London's Olympic Park, you'll find a vast, dingy looking metal warehouse. The word KONG is picked out in big red capital letters above a menacing statue of Pazuzu, a demon-god entity from ancient Mesopotamia, only this one is unceremoniously covered in stickers. 3 A new exhibition is open and celebrates 25 years of Gorillaz, the legendary virtual band Credit: Gorillaz 3 The House of Kong brings the band to life, and there are surprises in store for visitors Credit: Gorillaz Welcome to House Of Kong, the endlessly weird and wonderfully subversive home of Gorillaz. You may think of 2-D, Murdoc Niccals, Russel Hobbs and Noodle as a virtual band — product of the fevered minds of musician Damon Albarn and artist Jamie Hewlett. But this immersive exhibition, which opened its doors yesterday at the Copper Box Arena, is the physical embodiment of their 25-year history. So visitors get the sights, the sounds and, er, the smells that created the legend. Having been given a sneak preview, I was sworn to secrecy about many of the surprises in store, but I can give you a few juicy details. With headphones on, I am invited by a tour guide down a dimly lit, wood-panelled corridor with a sign at the end — again in bold capitals — which implores: 'REJECT FALSE ICONS'. The first room I enter is devoted to what is called the 'miscreation' of Gorillaz, through Hewlett's dazzling drawings. I see how the cartoon band's final line-up was arrived at, how a whole world was built around them and finally how they came to life through animation. I hear the story of their wild ride into the world of music — beginning with the self-titled debut album (2001), then continuing with Demon Days (2005), Plastic Beach (2010) and so on. This part of the exhibition is fascinating but relatively normal. It didn't quite prepare me for the bizarre (secret) scenes about to unfold. Official music video for the track Humility from the Gorillaz's newest album The Now Now Without giving too much away, I get lost in total darkness at one point and have to be rescued by an assistant with a torch. Shocking pink At least a panic attack didn't kick in — and I'm putting it down to a bit of Murdoc Niccals mischief. I can also add that I was very impressed with the large, original model of Plastic Beach, the shocking-pink floating Gorillaz HQ in the South Pacific made of humankind's detritus. And by the time I exited through the gift shop (in time-honoured Banksy-inspired fashion) and emerged blinking in the sunlight, I felt like I was ready for a lie-down (although not in a darkened room!) On the poster, Murdoc describes it as 'an exhibition like no other.' I would add the words, 'and then some'.
Scottish Sun
08-08-2025
- Entertainment
- Scottish Sun
Inside the weird and wonderfully subversive home of Gorillaz where iconic band are brought to life
The exhibition promises to be 'like no other' and it certainly is a unique experience HOUSE OF KONG Inside the weird and wonderfully subversive home of Gorillaz where iconic band are brought to life Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) GORILLAZ: HOUSE OF KONG Copper Box Arena, London ★★★★★ IN a discreet corner of London's Olympic Park, you'll find a vast, dingy looking metal warehouse. Sign up for the Entertainment newsletter Sign up The word KONG is picked out in big red capital letters above a menacing statue of Pazuzu, a demon-god entity from ancient Mesopotamia, only this one is unceremoniously covered in stickers. 3 A new exhibition is open and celebrates 25 years of Gorillaz, the legendary virtual band Credit: Gorillaz 3 The House of Kong brings the band to life, and there are surprises in store for visitors Credit: Gorillaz Welcome to House Of Kong, the endlessly weird and wonderfully subversive home of Gorillaz. You may think of 2-D, Murdoc Niccals, Russel Hobbs and Noodle as a virtual band — product of the fevered minds of musician Damon Albarn and artist Jamie Hewlett. But this immersive exhibition, which opened its doors yesterday at the Copper Box Arena, is the physical embodiment of their 25-year history. So visitors get the sights, the sounds and, er, the smells that created the legend. Having been given a sneak preview, I was sworn to secrecy about many of the surprises in store, but I can give you a few juicy details. With headphones on, I am invited by a tour guide down a dimly lit, wood-panelled corridor with a sign at the end — again in bold capitals — which implores: 'REJECT FALSE ICONS'. The first room I enter is devoted to what is called the 'miscreation' of Gorillaz, through Hewlett's dazzling drawings. I see how the cartoon band's final line-up was arrived at, how a whole world was built around them and finally how they came to life through animation. I hear the story of their wild ride into the world of music — beginning with the self-titled debut album (2001), then continuing with Demon Days (2005), Plastic Beach (2010) and so on. This part of the exhibition is fascinating but relatively normal. It didn't quite prepare me for the bizarre (secret) scenes about to unfold. Official music video for the track Humility from the Gorillaz's newest album The Now Now Without giving too much away, I get lost in total darkness at one point and have to be rescued by an assistant with a torch. Shocking pink At least a panic attack didn't kick in — and I'm putting it down to a bit of Murdoc Niccals mischief. I can also add that I was very impressed with the large, original model of Plastic Beach, the shocking-pink floating Gorillaz HQ in the South Pacific made of humankind's detritus. And by the time I exited through the gift shop (in time-honoured Banksy-inspired fashion) and emerged blinking in the sunlight, I felt like I was ready for a lie-down (although not in a darkened room!) On the poster, Murdoc describes it as 'an exhibition like no other.' I would add the words, 'and then some'.
The Star
28-06-2025
- Entertainment
- The Star
Malaysian artist Khabir Roslan turns kitchen compost into soulful artworks
Artist Khabir Roslan takes a thoughtful, grounded approach to his creative medium – collecting household and kitchen waste, transforming it into compost, and using that living material in his art. He has also transitioned from outdoor exhibitions to presenting his large-scale installations within a gallery setting. Three of such works are now featured in his solo debut, Sukma: Megah, Tunduk ( Soul: Greatness, Humility ), currently on view at Wei-Ling Gallery in Kuala Lumpur through June 21. Titled Tanoh Meupakat (The Soil's Oath ), Tanoh Meusoho ( The Weiry Soil ), and Tanoh Tuwah ( Ancient Soil ), Khabir's towering, soil-stained scrolls extend from floor to ceiling, each anchored by a fragment of a boat's hull – an element that grounds the exhibition both physically and thematically. Their weathered surfaces and sheer scale lend the room a contemplative stillness. A gallery view of Khabir's three large-scale installations in the exhibition – (from left) 'Tanoh Meupakat', 'Tanoh Meusoho', and 'Tanoh Tuwah'. Photo: Wei Ling Gallery These pieces are part of the 30-year-old artist's debut exhibition, which features 11 works in total – six installations and five paintings. According to Wei Ling Gallery founder Lim Wei Ling, Khabir showed promise right from the beginning of his journey with the gallery's Incubator Programme in 2023, mentored by artist Yau Bee Ling. 'When we first met him three years ago, he had done some very interesting projects. We asked him more about the reasons behind why he had conceptualised them, he was able to clearly defend and articulate his thought process, not just the practical steps but also the conceptual thinking behind the work,' says Lim. She also added how his unique use of organic materials had always been deeply tied to his message and identity as an artist. From using red soil in Tanoh Meupakat to working with compost that takes three months to mature, and incorporating gauze and bandages into massive, ragged forms, Khabir's work is both tactile and symbolic. In Khabir's paintings, geometric forms like triangles and hexagons lie beneath the compost, anchoring the composition. Photo: Wei-Ling Gallery In a more conventional work, Gema Alam ( Echo Of Nature ) offers a visual and material meditation on the rhythms of existence. Using oil and compost on jute, Khabir combines lines and optical illusions to reflect on the porous boundaries between body, soil, and soul. A patient process Despite works being made from compost, there's no unpleasant smell in the gallery. The point, Khabir explains, is to foster understanding: compost is not just fertiliser but a patient, intentional transformation shaped by human intent. 'The (exhibition) title reflects my ongoing exploration of time, decay, and impermanence,' says Khabir, who lives and works in a studio shophouse in Klang, Selangor. 'With compost, transformation happens slowly. It's not unlike a spiritual journey.' With an art school background, Khabir began with abstract oil painting during his time at UiTM in Shah Alam. 'Painting was how I first processed emotion and memory. Over time, I moved beyond the canvas, exploring texture and material through mixed media and installation. But that painter's mindset – how to layer, balance, and feel – still shapes everything I do, even when working with soil or fabric.' A visitor walks past Khabir's artwork titled 'Dalam Jeriau Nafas' (Within The Wailing Breath). Photo: The Star/Raja Faisal Hishan Khabir navigates the slow, organic timeline of decomposition alongside the pressing demands of exhibition deadlines with careful planning and an acceptance of unpredictability. 'It usually takes weeks to months to complete a piece,' he says. 'Composting and stitching require patience – I have to let the materials breathe, shift, and settle in their own time. First, I prepare the compost until it's ready, then I work on the bandages and paintings.' He adds, 'I've learned to respect that slow pace. It reminds me that not everything needs to be rushed. I manage deadlines by starting early and letting the process flow with the materials, not against them. There's a kind of surrender in that, and it becomes part of the work's meaning.' Khabir's installations themselves are impermanent. They can be displayed horizontally or vertically, wrapped around structures, or stitched into loops. Even storage conditions – humidity, temperature, airflow – can change how the work looks over time. Kitchen and studio life Change is a recurring theme for both Khabir and his art. Before pursuing art, he earned a diploma in culinary arts from UiTM. As a chef, he began collecting kitchen scraps – food waste from prep work – and composting them with agricultural matter. The result: a dense but pliable material, rich in metaphor. Known for his use of compost soil in earlier works, Khabir now incorporates hand-sewn bandages into large-scale installations. Photo: Wei-Ling Gallery His introduction to permaculture came through a community farm in Sungai Buloh, where he discovered a composting system that mimics nature's own regenerative cycles. He still juggles two jobs to make ends meet – working in a kitchen by day (a flexible arrangement) and making art in the quiet hours of the night. 'I usually start my studio time around 4.30am or 5am, when everything is quiet and my mind is clear. I work for four to six hours before heading to my chef duties (at a restaurant in Bukit Bintang) – prepping, cooking, or managing orders,' says Khabir. 'The precision and rhythm of the kitchen spill over into my art; both require focus, care, and balance. Waking early lets me pour my energy into art before the day takes over. It's tiring at times, but that ritual grounds me. On days off, I'm mostly in the studio – finishing a painting or stitching bandages – but I'll step away when I feel stuck or overwhelmed,' he adds. Evolving the process 'My (creative) process happens in two parts,' says Khabir. 'First, I prepare the surfaces – bandages, gauze, thread. Then I collect compost and let it 'cook' and breathe. Both elements are healing: one for wounds, the other for soil. They act as evolving metaphors in the work.' The difference is visible. From his earlier red-soil and bandage pieces – one ( Solidariti Tanah Air – Homeland Solidarity ) of which earned him the Most Promising Artist of the Year award in the UOB Painting of the Year competition in November 2020 – to today's layered, complex installations, Khabir's practice continues to deepen. 'That's the 'embodiment' aspect,' he says. 'When you understand the source of your sustenance – food – and how to manage its waste, you see that what comes from us will also return to us.' 'I've learned to respect that slow pace. It reminds me that not everything needs to be rushed,' says Khabir. Photo: The Star/Raja Faisal Hishan Throughout his work, hexagonal motifs reference Singgora roof tiles from traditional Malay buildings. Cut, rearranged, and stitched by hand, they resemble scars or tectonic shifts. Pigments mixed with soil and oil create rich, textured surfaces shaped by time and erosion. In Gerak Geruh Sukma ( Shifting Of The Subtle Body ) and Dalam Jeriau Nafas ( Within The Wailing Breath ), Khabir explores the origins of life – from single-celled organisms to humanity's global footprint. 'This is my way of visualising the human body at a microbiotic level. Compost is full of microbes, and just like our cells, we can't fully control or predict how they'll respond,' he says. Layered with compost, the paintings echo the continuous cycle of inner cellular activity and the larger environmental systems we depend on. 'Even breathing involves cellular exchange. The same thing happens in Earth's atmosphere – and humans have the power to influence that, for better or worse,' he concludes. Khabir Roslan's Sukma: Megah, Tunduk is on view at Wei-Ling Gallery, Kuala Lumpur, until June 21.
