CURRENT EXHIBITION

bibichun returns to Hin Bus Depot with ‘𝙋𝙞 𝙈𝙖𝙞 𝙋𝙞 𝙈𝙖𝙞 𝙏𝙖𝙣𝙜 𝙏𝙪, a long-awaited solo exhibition nearly a decade after his last show in October 2015. The title, drawn from a popular Malaysian sitcom, reflecting bibichun’s perspective on his own personal artistic journey and the Penang art scene as a whole. This phrase critiques the cyclical stagnation that often plagues creative industries, where efforts to advance may paradoxically result in little to no forward movement. It highlights how, despite striving for innovation or growth, the creative scene can sometimes be ensnared by repetitive patterns, preventing progress and leaving creatives feeling stuck in a loop.

Known for his thought-provoking and satirical approach, bibichun’s upcoming exhibition examines the intersections of government policies, art, and tourism. His bold and multilayered visual language critiques how tourism turns cultural narratives into urns solely just to serve as tourism commodities, while also examining how government policies shape these exchanges. The exhibition is a reflection on the mechanics of tourism and also a commentary on the behavior and expectations of tourists visiting various countries. bibichun interrogates the performative aspect of culture under the scrutiny of outsiders, raising critical questions about authenticity, representation, and the compromises made in the name of economic gain.

𝙋𝙞 𝙈𝙖𝙞 𝙋𝙞 𝙈𝙖𝙞 𝙏𝙖𝙣𝙜 𝙏𝙪, while personal in its introspection, also offers a biting societal commentary, leading us to rethink the roles we inadvertently play in perpetuating these cycles and to envision new pathways for impactful change and growth. Through bibichun’s incisive critique, we are posed with the question of whether true progress is achievable, or if, despite our constant efforts to move forward, we are doomed to remain caught in the same loop over and over again.

𝘊𝘢𝘯 𝘸𝘦 𝘦𝘷𝘦𝘳 𝘣𝘳𝘦𝘢𝘬 𝘧𝘳𝘦𝘦 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 ‘𝘵𝘢𝘯𝘨 𝘵𝘶 𝘫𝘦,’ 𝘥𝘦𝘴𝘱𝘪𝘵𝘦 𝘢𝘭𝘭 𝘵𝘩𝘦 ‘𝘱𝘪 𝘮𝘢𝘪, 𝘱𝘪 𝘮𝘢𝘪-𝘪𝘯𝘨?

Since making his mark on the Malaysian art scene in the late 2000s, self-taught artist 𝗯𝗶𝗯𝗶𝗰𝗵𝘂𝗻 has become an influential voice in contemporary art. A graphic design dropout from Tunku Abdul Rahman College, bibichun has exhibited extensively both domestically and abroad in traditional galleries and unconventional spaces, beyond white cubes. His street-based visual commentaries, armed by poignant humor and keen social insights have become a defining feature of George Town.

Notoriously celebrated for his wit, versatility, and refusal to conform, bibichun continually challenges the boundaries of art-making. Rejecting labels such as “fine artist” or “street artist,” he has developed a multifaceted practice that interrogates themes of authorship, identity, and the definition of “public space” within the cultural context of George Town. His works are often presented as a conversation starter, provoking responses from the public that, in turn, inform his understanding of the issues he explores.

𝗯𝗶𝗯𝗶𝗰𝗵𝘂𝗻'𝘀 footprint extends internationally, having participated in prominent group exhibitions and festivals such as 𝙐𝙧𝙗𝙖𝙣 𝙁𝙤𝙡𝙠𝙤𝙧𝙚 (Kunstraum, Innsbruck), 𝙒𝙚𝙖𝙥𝙤𝙣 𝙤𝙛 𝙈𝙖𝙨𝙨 𝘾𝙝𝙖𝙣𝙜𝙚𝙨, 𝙂40 (Art Whino, Maryland), and the 𝘽𝙚𝙮𝙤𝙣𝙙 𝙋𝙧𝙚𝙨𝙨𝙪𝙧𝙚 𝘾𝙤𝙣𝙩𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘼𝙧𝙩 𝙁𝙚𝙨𝙩𝙞𝙫𝙖𝙡 (Yangon). As his practice evolves, 𝗯𝗶𝗯𝗶𝗰𝗵𝘂𝗻 persistently challenges conventions.