***** PLEASE SCROLL DOWN FOR THE ENGLISH VERSION *****
- 展期：2025.6.21 — 9.7，2:00pm – 8:00pm，週三至日
* 註：7.9-7.25日為立方暑假休館，7.26重新開放
- 策展：馬紅綾（Beh Hoong Ling）
- 參展藝術家：Joe Kidd（The Ricecooker Archives）、Man Beranak（Rumah Api）、No Good & Azam Sa‘ad、Poodien、Azmyl Yunor、吸膠少年
詳情請至官網:
https://thecubespace.com/project/restless-moon/
立方計劃空間將於2025年6月21日起舉辦展覽《噪動的月光：走進馬來龐克的地下聲場》，邀請馬來西亞文化研究者馬紅綾（Beh Hoong Ling）策劃，並集結來自馬來西亞地下音樂與藝術場景的重要創作者：Joe Kidd（The Ricecooker Archives）、龐克空間Rumah Api負責人之一Man Beranak、龐克樂團 No Good 與導演 Azam Sa‘ad、藝術家 Poodien、音樂人 Azmyl Yunor，以及台灣龐克團體吸膠少年。本展將透過文件檔案、視覺藝術、聲音與錄像作品、工作坊等形式，試圖勾勒出馬來穆斯林龐克參與者所處的文化矛盾與抵抗之姿，為觀眾打開一扇觀看馬來西亞當代社會另類面貌的窗口。
*本展主視覺元素由參展藝術家Poodien提供
-- 策展論述 --
（文/馬紅綾）
在馬來西亞地下音樂場景裡，口耳相傳著一段幽默說法：「華人家庭喜好柔美悠揚的音樂，譬如瑞典天團ABBA，木匠兄妹樂團等；而馬來家庭熱衷音樂性較重的搖滾樂，如英國硬式搖滾深紫色樂團與齊柏林飛船」。這類隨說話語，固然無法作為嚴謹的文化分析依據，卻或許反映了某些關於語言與聲音感知在族群文化中的差異性：馬來西亞社會多語環境下的音樂經驗，往往與語言的選擇密切交織。
馬來西亞社會裡流通著多元語言、學校採用多源流語言系統教學，在媒體與日常生活中也廣泛呈現出語言的多樣性。中文廣播電台長期深受中港澳台的當代華語流行音樂薰陶；馬來廣播電台鍾情於歐美搖滾音樂文化；淡米爾廣播電台則狂熱於帶有強烈民族特色的印度傳統音樂與寶萊塢音樂文化。人們因應自身的教育養成與生活場景，選擇了自己熟悉的語言為主要媒體資訊來源。每種語言媒體，同時形塑了不同群體的音樂想像與情感記憶，成為文化認同邊界的微妙標記。
馬來西亞的地下次文化音樂場景如金屬、龐克場景，以馬來族群為多數參與者，然而對於馬來族群而言，參與這類次文化場景所面臨的社會壓力，往往比非馬來族群更為複雜。根據《馬來西亞聯邦憲法》（Constitution of Malaysia）第160條第2.26：「『馬來人』係指信仰伊斯蘭教，使用馬來語，依循馬來習俗的人」，意即馬來族群的身份等同於穆斯林，而馬來西亞世俗法與伊斯蘭法並存的雙軌法律制度（伊斯蘭法僅對穆斯林具有約束力），使得馬來穆斯林在進入次文化場景時，所面對的不只是個體選擇，而是牽涉一整套宗教、家庭、社會與國家的規訓體系。在這般國族脈絡下，再次回看地下次文化音樂場景，「馬來穆斯林」與「龐克」的身分，成了值得進一步思考的文化現象。
「龐克」強調以反叛抵抗、不服從規範與權威體制作為其核⼼精神價值︔「穆斯林」則以服從、遵守宗教教義作為信仰與⽇常⽣活⽅式。在龐克的躁動與宗教信仰的寧靜這兩種看似矛盾的邏輯中，⾺來龐克參與者如何尋找自身的文化位置︖依循此⼀疑問出，作為⼀名⾺來西亞華⼈，策展者試圖在非馬來穆斯林視角下靠近、理解、探詢以馬來穆斯林為多數的馬來西亞龐克場景文化現象。在這場⾳樂探索旅途裡，策展者嘗試透過族群、宗教、法律與次文化之間矛盾與裂縫的觀察，從微觀中探詢個體如何在制度內進行文化協商與情感抵抗。
本展覽主題「噪動」隱喻著潛藏在馬來龐克世界裡的異質噪音︔⽽新⽉則象徵著宗教信仰身分。《噪動的月光》以⾺來西亞半島的龐克⾳樂場景為起點，並邀請場景裡的朋友們共同參與這場展覽，包括被譽為「馬來西亞龐克教父」的 Joe Kidd，他以檔案收藏家的身分提供多份珍貴的第一手收藏；馬來西亞當代藝術家 Poodien，他以模板藝術作為創作媒介，透過街頭風格的海報作品傳遞反抗與批判之聲；龐克樂團 No Good 的現場演出錄像，以及由 Azam Sa’ad 為該樂團執導的短篇紀錄片；著名龐克空間「 燈塔」（ Rumah Api） 負責人之一 Man Beranak 所提供的影像檔案。
本展覽透過多媒材⽂件與作品展⽰，包括視覺藝術、聲⾳作品、錄像作品、文件檔案等數種藝術表現形式，將長期藏匿在⾺來西亞地下⾳樂場景碎⽚化事蹟⼀⼀撿拾、蒐集，試圖從宗教、族群與次⽂化的交織中勾勒出⼀個非學術、非市場的⾺來穆斯林龐克之⽂化敘事，讓觀眾得以透過另類角度，認識⾺來西亞社會隱晦卻極具生命力的一隅文化面向。
= Dates: 21 June – 7 September 2025, 2:00 PM – 8:00 PM, Wednesday to Sunday
*Closed from 9 July to 25 July for summer break; reopens on 26 July
=Venue: TheCube Project Space
=Curator: Beh Hoong Ling
= Artist: Joe Kidd (The Ricecooker Archives), Man Beranak (Rumah Api), No Good & Azam Sa‘ad, Poodien, Azmyl Yunor, Suck Glue Boys
* More information
https://thecubespace.com/en/project/restless-moon-en/
TheCube Project Space is pleased to presents RESTLESS MOON: Sound from the Malaysian Punk Underground, curated by Malaysian cultural researcher Beh Hoong Ling. The exhibition brings together key figures from Malaysia’s underground music and art scenes: Joe Kidd (The Ricecooker Archives), Man Beranak from the punk venue Rumah Api, the punk band No Good and filmmaker Azam Sa‘ad, artist Poodien, musician Azmyl Yunor, and Taiwanese punk collective Suck Glue Boys.
Through archives, visual art, sound and video works, as well as participatory workshops, the exhibition explores cultural contradictions and resistance expressed by Malay Muslim punk participants, opening a window into the lesser-known facets of contemporary Malaysian society.
* The key visual element for this exhibition was contributed by participating artist Poodien.
-- Curatorial Statement --
By Beh Hoong Ling
In Malaysia’s underground music scene, there is a running joke: “Chinese families love mellow and harmonious music—like ABBA or The Carpenters—while Malay families are into heavier rock like Deep Purple and Led Zeppelin.” Though lighthearted and anecdotal, such remarks may reflect deeper differences in how ethnic communities perceive language and sound. In Malaysia’s multilingual society, music experiences are often tightly interwoven with linguistic choices.
Malaysia’s media and educational systems are built around multiple language streams—Chinese, Malay, Tamil, and English—each fostering distinct music cultures. Chinese-language radio is steeped in pop from China, Taiwan, Macao and Hong Kong; Malay radio stations broadcast rock music deeply influenced by Western styles; Tamil channels favor Indian classical and Bollywood sounds. People often choose their media based on their language background and social context, and each language’s media ecosystem shapes distinct musical imaginaries and emotional memories, subtly marking boundaries of cultural identity.
Genres like metal and punk in Malaysia’s underground subcultures are often dominated by Malay participants. However, Malay Muslims face unique societal pressures while participating in these scenes. Article 160 of the Malaysian Constitution defines “Malay” as someone who professes Islam, speaks Malay, and adheres to Malay customs. As a result, Malay identity is inseparable from being Muslim, and in Malaysia’s dual legal system—secular and Sharia—Islamic law applies exclusively to Muslims. For Malay Muslims, entering the punk scene involves navigating not just personal choice, but also religious, familial, social, and state regulations.
This context renders the intersection of “Malay Muslim” and “punk” a fascinating cultural contradiction. While punk emphasizes resistance, nonconformity, and defiance of authority, Islam prioritizes submission and discipline as core tenets of faith. How do Malay punk participants negotiate this contradiction? As a Malaysian Chinese outsider, the curator seeks to approach, understand, and document the predominantly Malay Muslim punk culture. This curatorial journey explores the tension and rifts among race, religion, law, and subculture—probing how individuals subtly negotiate identity and resistance within systems of control.
The title Restless Moon juxtaposes the unruly noise of punk with the spiritual symbolism of the crescent moon. This exhibition begins with the punk scene on the Malaysian peninsula, inviting artists from the scene to participate: punk godfather Joe Kidd shares rare archival materials from The Ricecooker Archives; artist Poodien contributes his stencil-based posters steeped in street aesthetics and political critique; punk band No Good is represented through a live video performance and a short documentary by Azam Sa’ad; Man Beranak contributes documentation from Rumah Api, Malaysia’s iconic DIY punk venue.
Through visual art, sound, video, and archival materials, this exhibition gathers fragments long buried within Malaysia’s punk underground. It seeks to sketch an alternative, non-academic, non-commercial narrative of Malay Muslim punk—offering audiences an oblique, yet vital view into the subcultural pulse of Malaysian society.
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