Malaysia's National Art Gallery, known locally as Balai Seni Negara, has been the symbolic heart of the nation's artistic expression for decades. However, under the leadership of Director-General Amerrudin Ahmad, the institution is undergoing a revolutionary transformation that extends far beyond the walls of its Kuala Lumpur headquarters on Jalan Tun Razak.
The 55-year-old director-general, who has dedicated 27 years to the gallery and previously served as deputy director-general and senior curator, is spearheading an ambitious decentralization effort. This initiative aims to bring art directly to fishing villages, small towns, and rural communities across Malaysia, fundamentally changing how the gallery serves the nation.
"When we decentralize, we realize we are no longer on the colonial-era track," Ahmad explained during an interview. "By decentralizing, we elevate local businesses, highlight what is unique, and involve credible people to benefit the community." This shift represents a dramatic departure from the traditional model where major exhibitions and cultural events were confined to urban centers.
The transformation is perhaps most evident in the prestigious Bakat Muda Sezaman (Young Contemporaries Competition), which has been a cornerstone of Malaysian contemporary art for years. Since 2022, this competition has adopted a revolutionary site-specific format where shortlisted artists develop their projects within their own communities rather than creating works for display in the gallery's halls.
"Previously everything was done here. But when we changed our approach, we saw originality and creativity without limitations, including size," Ahmad noted. This new approach has yielded remarkable results, with artists creating works that serve both artistic and practical purposes within their communities.
One striking example comes from Sabah, where artist Andry Chin Yung Tet collaborated with a remote Bajau community on Pulau Silk, an island without electricity or running water. The resulting project, called "Aisbok Bajau," featured a large sculpture that functioned as an ice box for storing freshly caught fish. "The fishermen would go out to catch fish and then return, some to sell them, some to keep them for their own consumption," Ahmad explained. "They'd bring the catch home and store some of it in the ice box. This way, they'd have fresh fish to eat. But the ice box itself was a sculpture, an artistic approach."
The artwork not only served the community's practical needs but also attracted visitors and corporate social responsibility projects from private companies to the island. This demonstrates how community art projects can create social and economic impact beyond their artistic value.
Similar success stories are emerging across Malaysia. In Raub, Pahang, artist Mohamad Ismadi Sallehudin has built strong connections with villagers through his Art Garden Madi studio in Ulu Dong. "Taxi drivers in Ulu Dong know him by name," Ahmad said, noting how locals take pride in the artist's projects. "When artists are involved with the community, the community knows them. There's a sense of ownership."
In Kuala Terengganu, another innovative project has seen murals painted on bridge columns that now serve as navigational markers for local fishermen. "The fishermen tell their children, 'If you want to bring the boat home, follow the painting,'" Ahmad explained. "When you show them art, they might not understand. But when it benefits them, they get it."
This community-centered approach represents a fundamental shift from the gallery's historical role. Established in the 1950s during the post-colonial nation-building era, the National Art Gallery was originally created when visual propaganda was a powerful tool for unifying a diverse population. "Back then, countries with multiple races and no standard language relied on visual communication," Ahmad explained. "The British had to set up a National Gallery before artists could bring their own collections."
The institution's journey began on April 22, 1958, when the Cabinet approved the use of Dewan Tuanku Abdul Rahman at No. 109 Jalan Ampang to house the newly formed Balai Seni Lukis Negara. As the nation grew, so did the institution. On May 21, 1984, new premises at No. 1 Jalan Sultan Hishamuddin in the former Hotel Majestic were officially opened by then-Prime Minister Tun Dr. Mahathir Mohamad. The gallery eventually moved to its current location on September 27, 2000, also inaugurated by Dr. Mahathir.
For decades, these centralized spaces embodied the gallery's role as the country's cultural hub. However, Ahmad believes the world has changed, and the gallery must evolve accordingly. "Our approach is no longer just exhibitions in KL, but connecting with communities everywhere. In the modern world, connecting with people without crossing borders is no longer an issue," he said.
The gallery's new philosophy also extends to its relationship with commercial galleries. Rather than competing, Ahmad emphasizes collaboration and support. "So we said you continue doing what you're doing. We'll help you with whatever you need – customs, tax, anything – we'll support you. We should help them, not compete," he explained. "If we sell art here, it becomes a conflict of interest. Private galleries have to survive. We focus on society instead."
The COVID-19 pandemic accelerated this transformation. With physical exhibitions halted and maintenance work disrupted during lockdowns, the gallery redirected funds to social media promotions. Instead of hiring external agencies, they worked directly with artists to produce videos promoting both themselves and the gallery. "We repositioned ourselves, telling the youngsters out there that the National Art Gallery is one of the cool places for OOTD," Ahmad said with a smile, referring to the popular social media trend of "Outfit of the Day" photography.
The gallery has also been upgrading its physical spaces to become more welcoming to families and casual visitors. Plans include adding more comfortable seating and enhancing the café to create a controlled, safe environment. "Rain, storm, traffic jam, scorching hot, please come here. Have a coffee, wait for your kids, or let your kids wait for you here," Ahmad encouraged. "It's a controlled environment because we preserve treasures. We have CCTV, security, the temperatures, it's all controlled. And parking is free as well."
Central to this new approach is Ahmad's belief that people no longer want to hear a single, authoritative narrative. "People no longer want to hear the grand narrative, which is the single truth. Everyone has their own truths. We focus on what they [the artists] can find, which is local wisdom," he explained.
Despite this shift toward decentralization, the gallery continues to maintain its core functions. Its permanent exhibitions remain an essential part of its role as the nation's custodian of artistic heritage, housing a collection of around 5,000 artworks. However, due to space constraints, only about eight percent of the collection is on display at any given time. The rest of the collection lives on through community engagement and decentralized programs that extend the gallery's reach far beyond Kuala Lumpur.
"Globally, this is the new approach. There's resistance to doing things the old way, but we've learned from the past," Ahmad reflected. "We're moving forward – with society at the center." He emphasized that art is already present in people's daily lives, often without them realizing it. "You don't have to go far, it's already part of your surroundings. Art is all around," he concluded, encapsulating the gallery's vision of making art accessible and relevant to all Malaysians, regardless of their location or background.
