There is something about Penang when it comes to art, culture, music and history. It is not simply a place where these things are displayed for public consumption. In every corner, they are woven into the state’s character, visible in its architecture, its everyday rhythms and, perhaps most importantly, in the people who continue to power this industry. For anyone interested in the arts, Penang has long been a Malaysian Mecca. It is a rite of passage to make your journey here, not just to see what has been made, but to meet the people making it. For practitioners and aficionados, a visit here is also a rite of passage.
But this reputation requires effort. It takes people willing to put in the work, often with limited resources, to keep opportunities alive. Much of the cultural activity we celebrate depends on independent practitioners, collectives, private spaces and individuals who are prepared to open their doors. Open Studios Penang is one such effort.
Returning for the sixth time, from 16 to 18 October, under the theme It’s All a Surprise, the festival brought together more than 75 artists and dozens of creative spaces across Penang. The official opening took place at Hin Bus Depot on 15 October. It was drizzling, making for a blustery evening, but it didn’t dampen anyone’s spirits. The arts community turned up in full force, and fellow arts collector Lee Khai delivered the opening address in a setting that felt entirely appropriate. Hin Bus Depot has become one of Penang’s arts staples, drawing artists, audiences and tourists.
The real story, however, unfolded across the following three days.
Founded in 2019 by artists and cultural practitioners, Open Studios Penang was built around a simple idea, that people should be able to step into the spaces where creative work happens. Not everyone gets the privilege of being in an artist’s creative zone, and not every artist has the visibility or resources to attract an audience independently. An event like this gives both sides an opportunity to connect.
This year, the idea expanded further, moving beyond paintings and sculpture. The programme included workshops, performances, storytelling, music and other creative practices. It was encouraging to see so many studios, cafes and heritage buildings opening their doors to visitors. Visitors were no longer just observers; they could participate, making the experience more interactive. The surprise was not only in what was on display, but in the experiences themselves, with visitors having direct access to the artists.
For the first time, the festival included studios from Bukit Mertajam on the mainland, with Inkling Studio and Tang Yeok Khang featuring work exploring local heritage. This inclusivity has widened Penang’s creative map, a promising sign that may herald a new wave of participation in the near future.
For Aboud Farres, who has participated since the beginning, the festival brings visitors into his experimental sculpture studio, MassHaus, who might otherwise never think to ask for a visit. He has been a full-time artist for 16 years, and his reflections are a useful reminder that community enthusiasm and a sustainable art industry are not necessarily the same thing. The industry needs an audience, quality events and people willing and able to buy art, all of which are crucial for its continued existence.
Sustainability has always been a question when it comes to the arts, a problem discussed for decades but never solved, yet the arts community remains ever so stubbornly resilient. Open Studios cannot solve all of that. But it can create the first connection, and sometimes that is where something begins.
The value of access is particularly significant for younger and emerging artists. Melody Pang, a painter who runs Dreamer Haven Art Cafe, has made her space available for exhibitions, workshops, talks and performances. During this edition, the cafe hosted work by Yanti Ismail and Christine Das, alongside Melody’s own. For her, initiatives like Open Studios Penang offer an alternative route for emerging artists because getting exhibited through established galleries can be difficult. Personally, it is not about replacing galleries, but about creating more ways for artists to be seen and for audiences to find them. There remains something inherently beautiful about being in an intimate setting that is far removed from the perceived haughtiness of traditionally styled fine-art galleries.
The exhibition Contrary Creatures, featuring Yanti and Christine, offered another glimpse of what happens when artistic practice goes beyond aesthetics. Yanti’s imagined world of woman-bird hybrid beings plays with feminist themes and the structures of a patriarchal society. Christine’s work is rooted in wildlife conservation, with elephants being the focal point. For Yanti and Christine, art is not separate from advocacy and activism but a vehicle for both.
Some participating spaces are not studios. Tina Lim, founder of the Private Collection of Vintage Bags, also provided access for visitors. Her normally appointment-based collection opened its doors to the public and offered a hands-on tassel-making workshop through its Conscious Change initiative, which explores the reuse of materials. Tina believes that a carefully curated series of offerings will add to the delight of attendees. Open Studios creates room for different creative practices to sit alongside one another, each with its own audience and way of engaging people.
Of course, a programme spread across so many locations is impossible to experience in its entirety over three days. A stamp passport offered visitors a playful way to keep track of the places they had visited, while Christine suggested that a map and schedule would make planning future visits easier. These are small practical considerations, but they may go a long way towards helping attendees tailor their own experience with the limited time they have.
There is also a larger question hanging over all this activity. We are often enthusiastic about celebrating the arts, but uncertain about treating creative work as a viable livelihood. Encouraging young creatives to take the plunge is one thing. Lifting the veil that divides audiences and creatives is another. Understanding the work, engaging with it and supporting artists by buying it present yet another challenge. Visibility matters, but it is only one step towards a healthier creative ecosystem. People need to learn how to value creative work.
What makes Open Studios Penang encouraging is that it is built through the collective efforts of people who show up, share their spaces, organise programmes and make room for others. The warmth and openness of the community are part of what keeps the initiative going. There are no handouts from the government, and it is driven (yet again) fully by the support of the community.
It really is It’s All a Surprise. Art can amuse us with what it looks like, inspire us through what it says, or remind us of the things we might otherwise overlook. But what is truly surprising is that art can bring strangers together and create meaningful encounters — something worth nurturing long after the festival doors close for another year.
For those interested in exploring the programmes and participating spaces under Open Studios Penang, visit the website for more information.
About the writer:
Kelvyn Yeang is a dynamic creative leader with deep expertise in music, history, and the cultural arts. Whether he is developing a new project, hunting for a great story, or chatting with people over coffee, Kelvyn is always fuelled by connection and creativity.
Seni:Kita (pentaspena.pg@gmail.com) is a content creator under the Newswav Creator programme, where you get to express yourself, be a citizen journalist, and at the same time monetize your content & reach millions of users on Newswav. Log in to creator.newswav.com and become a Newswav Creator now!
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