Indigenous cultures from Taiwan to Australia converge in this KL group show

KUALA LUMPUR, 13 OCTOBER 2026 —

Kuala Lumpur, 12 October 2026 — A convergence of Indigenous artistic traditions from Taiwan, Australia, Indonesia, and Borneo is set to define the cultural landscape of the Federal Territory this weekend, as the group exhibition Qadjai: Material Acknowledgements opens at Pentago House in Kampung Attap.

By bringing together contemporary art and cultural practices, the show positions Kuala Lumpur as a critical node in a transnational network of Indigenous knowledge and artistic expression, challenging conventional boundaries of regional identity.

The central concept driving the exhibition is the “line,” known as “qadjai” in the Paiwan language. This concept is foundational to Indigenous Taiwanese epistemology, permeating every aspect of daily life from the structural integrity of house construction and woven textiles to the design of hunting traps, agricultural practices, and fishing implements. The line is not just a visual motif but a philosophical framework.

Co-curator Chloe Ho, a Singapore-born art historian and cultural worker, explains that qadjai functions as both a tangible line and an ethics oriented toward the future. “It reminds us that genuine connection requires learning to listen across difference, to assume responsibility and to walk alongside one another,” Ho said.

She further elaborated that the concept contextualises the individual within a life network community that includes ancestors and land, serving as a medium through which memory is carried and knowledge is transmitted.

The exhibition features a diverse array of works that embody this philosophy, starting with the textile prints of senior Paiwan artist and co-curator Etan Pavavalung. These prints draw directly on Paiwan cosmology and were originally conceived as wall-based positive wood carvings. The technique is informed by similar carvings found on the tribe’s distinctive double-piped nose and mouth flutes, linking the visual arts to the sonic traditions of the Paiwan people.

Alongside Pavavalung’s contemporary works, the exhibition displays lalingedan, or nose flutes, crafted by his late father, Pairang Pavavaljung. These instruments, dating from the 1980s, are made from jade bamboo found exclusively on the tribe’s sacred mountain, Tjaivuvu. The material is described as thin and delicate yet supple and strong, having withstood the powerful winds of the mountain.

Ho noted that working with this material required immense patience and dexterity that Pavavaljung had gained from over 70 years of practice, warning that when not handled carefully, the bamboo will crack and cannot be saved.

The narrative of the exhibition extends to the next generation of artists, including emerging Paiwan artist Sutipau Tzarujalzum, who presents coloured flute sculptures. Traditionally, the flute has been a male-dominated art form, a dynamic that has prompted Tzarujalzum to question a young woman’s place in its practice.

At a time when few Paiwan people remain interested in traditional arts, the decision by Pavavaljung to formally accept two female students, including Tzarujalzum, was described as a radical step in keeping the tradition alive. Tzarujalzum reflected on her experience, stating, “When learning the flute, I was once told that I must imagine myself as a man to produce the true sound of the flute.

This led me to reflect: if the sound of the flute is inherently meant to convey emotion, then what determines whether that sound is authentic? Is it gender, or the player’s own emotions and breath?” This inquiry led to her Girls' Flute series, which retains the construction and tonal structure of the double-piped mouth and nose flutes while incorporating lace, glittering embellishments, and playful feminine details.

Tzarujalzum explained that these decorations are not meant to simply aestheticise the instrument but represent a humorous intervention, placing the feminine sensibility previously excluded from the sound of the flute back onto the body of the instrument itself.

Beyond the Paiwan contributions, the exhibition incorporates works from Indigenous artists in Australia and the broader region. Wiradjuri tribe artist Ange Jeffery uses the board game Monopoly to examine how Indigenous lands in Australia have become a “game” that disregards local law. This critical perspective is complemented by the work of Australian artist and researcher Amy Spiers, who offers a tongue-in-cheek response to land grabs.

Spiers proposes to reserve space for First Peoples of Australia, subverting conventional ideas of exclusivity. These works are juxtaposed with the collaborative efforts of New Zealand-born artist Jen Valender, who works with the Taiwan Kacalisian Performing Arts Troupe. As Valender does not speak any Austronesian languages, the collaboration relies on background research, translated conversations, and a shared sonic language.

The resulting two-channel video work features footage of their joint performance in Naarm/Melbourne in 2024, as well as the first double-pipe flute-making workshop held outside Taiwan.

The accompanying programme for the exhibition is designed to deepen the audience’s understanding of these material and cultural connections. It includes a talk on vernacular architecture in Taiwan and Indonesia, highlighting the structural parallels and shared histories of the region. A half-day symposium on the nature of festivals will also be held, exploring how communal gatherings serve as vessels for cultural transmission.

The programme culminates in a performance by the Taiwan Kacalisian Performing Arts Troupe, the only officially recognised group of flautists from the Paiwan Ravar tribe. The troupe will feature the Paiwan double-piped nose and mouth flutes, providing a live demonstration of the sonic traditions that underpin the visual works on display.

The closing event of the exhibition is structured to facilitate a direct cross-cultural exchange. Spiers’ reserved spaces, which were proposed as a conceptual response to land grabs, will be occupied by Paiwan musicians performing on their double-piped mouth and nose flutes. This arrangement creates an opportunity for solidarity and interaction that transcends the limits of spoken language, allowing the music to serve as a primary medium of communication.

The event underscores the exhibition’s broader aim to foster genuine connection and responsibility among diverse Indigenous communities.

The logistical and institutional support for Qadjai: Material Acknowledgements reflects the collaborative nature of the Pacific Rim Art Cross Border Project. The exhibition is supported by a consortium of local and international bodies, including Pentago House, Yayasan Lim Yee Hoh, and Pertubuhan Kolektif Seni Budaya Sabah. International support comes from the Ministry of Culture Taiwan, the Australian Research Council, RMIT University, Art+Australia, and the University of Melbourne.

This multi-jurisdictional backing highlights the growing importance of cross-border cultural initiatives in the region, where shared heritage and contemporary artistic practice are increasingly recognized as vital components of regional identity and economic engagement.

For Malaysian and regional readers, the exhibition offers a rare opportunity to engage with the material culture of neighboring Indigenous communities in a contemporary context. The presence of works from Borneo, alongside those from Taiwan and Australia, reinforces the historical and cultural ties that bind the region. The exhibition’s focus on the “line” as a connector of memory and knowledge provides a framework for understanding how Indigenous communities navigate modernity while preserving their distinct epistemologies.

The inclusion of vernacular architecture and festival studies further grounds the artistic works in the lived experiences of these communities, offering insights into the structural and social foundations of their cultures.

The timing of the exhibition, coinciding with the broader cultural calendar in Kuala Lumpur, positions it as a significant event for the local arts scene. The free admission policy, with registration required for main events due to space limitations, ensures accessibility for a wide audience.

The emphasis on registration for specific talks and performances indicates a high level of interest and the need to manage the flow of visitors to maintain the quality of the experience. The exhibition’s location in Kampung Attap, a historic area of Kuala Lumpur, adds another layer of significance, placing contemporary Indigenous art in dialogue with the city’s own heritage and urban fabric.

As the exhibition concludes, the legacy of Qadjai: Material Acknowledgements will be measured by the connections forged between the artists, the curators, and the audience. The collaborative model, which relies on shared sonic languages and translated conversations, offers a template for future cross-cultural engagements in the region.

The works of Pavavalung, Tzarujalzum, Jeffery, Spiers, and Valender collectively challenge the viewer to consider the ethics of connection, the transmission of knowledge, and the role of art in sustaining cultural identity. The exhibition stands as a testament to the resilience and creativity of Indigenous artists who continue to innovate within their traditions, offering new perspectives on the shared history and future of the Pacific Rim.