The Incomparable Fahmi Reza

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Before Fahmi Reza went for a police investigation for his artwork for the ninth time this year, he managed to do a quick analysis on his computer. He found a correlation between the prime minister’s party and police investigations of his artwork. 
When he drew about Najib Abdul Razak and Ismail Sabri Yaakob as prime ministers, he was called in for questioning. When he drew about Dr Mahathir Mohamad and Muhyiddin Yassin, however, there were none. Interesting.
Fahmi (above) needs to document these because he is starting to lose count. When he gets a call from the police to investigate his artwork, his first reaction is not fear; instead, he asks “Which one?”.
His investigation counts are high enough he could conduct analyses to find patterns. Every time he marches into the police station, he mentally prepares for intimidation, humiliation, and a potential ordeal of staying for at least 24 hours.
But he’s gotten used to it. Now, every time he leaves, he will take a photo in front of the police station for posterity. He will pose with his signature “V” and tells the police “jumpa lagi next time, apa-apa boleh roger” (see you again next time, call me if anything). 
This year is special. Fahmi is one investigation away from hitting the big ten. He has created a police station loyalty card so he could give himself a stamp every time he is called in.
The authorities have tried everything and they are running out of ideas. “They have beaten me up, brutally handled me, put me in police lockup,” Fahmi told Vice. 
Recently, they have tried to take a photo of him like a criminal, and even tried to take his DNA sample. Nothing worked. He is still producing at an all-time high, and he does this with a smile.


Like all things, police investigations will reach a point of diminishing returns. The marginal purpose of fear and intimidation is significantly increased each time you call Fahmi in. 
Worse, they start to look like fuel for Fahmi’s continued creation. He has single-handedly hacked the oppressive system. And that is just one part of why Fahmi is incomparable.
The power of the clownface
Fahmi’s first breakthrough artwork is also his most impactful. At the peak of the global scandal of 1MDB, he drew a clown face of former prime minister, Najib Razak. “1MDB scandal’s level of corruption is legendary,” Fahmi said. “[The scandal] turned the whole country into a circus, and the biggest clown of all was ex-prime minister Najib.”
The artwork took off, garnering online attention like never before. To his surprise, he started seeing people printing the clown face on T-shirts, stickers, and wood signs. 
Like all changes in history, the change started slow, and it finally reached a crescendo in the largest Bersih protests where Fahmi’s artworks became the most prominent protest symbol. BN lost power for the first time.
More than campaign speeches and parliamentary arguments, smaller, ordinary acts like protest posters and graffiti art have a more instrumental impact in ushering in a revolution. 
Resistance movement research has found that they are especially effective in an oppressive culture to change hearts and minds. When a person sees graffiti of corruption on the street, they develop an understanding of the oppressive culture they are living in, even without any outward expression. 
More important, any observer of Fahmi’s artwork would feel a camaraderie with other country people, and they would be more willing to make a change as they know they are not alone.
However, even if Fahmi’s role in bringing revolution is not causal, traceable, or instrumental, his work in challenging the authority of all kinds is important for society. On a daily basis, Fahmi’s artworks act as a stand-in for the courage we do not have. 
His genre is expansive, pointing out the corruption, self-interest, and hypocrisy of politicians from both sides. Fahmi’s punk-rock training has taught him to always be suspicious of authorities who would not think twice to engage in doublespeak.
This is fine meme
During the height of Covid-19, Fahmi drew a series of This Is Fine meme adaptations that puts former prime minister Muhyiddin in a burning room and a nonchalant Muhyiddin still giving a thumbs up and says “This is fine.” 




Former premier Muhyiddin Yassin
The meme series evolves as daily case numbers continue to skyrocket and eventually Muhyiddin is drown in the toilet, leading to a massive explosion.
With a few comic panels, Fahmi showed us the central failure of Muhyiddin’s administration: denialism. Other mediums would not have been able to depict this more succinctly. 
You don’t know how to describe it or where to start – but you know what it feels like. That is the greatness of art.
But there is one final reason why his work matters: he will make you feel uncomfortable. You may be a Pakatan Harapan supporter liking his mockery of Ismail Sabri’s cabinet or PAS’s hypocrisy, but the next poster might be Lim Guan Eng as Nobita from Doraemon or Anwar coming out of the hole asking “Is it my turn now?”
Liking Fahmi’s work is supposed to be risky. He is not supposed to speak for you or whichever party you support. A pure-blooded anti-authoritarian artist is who he is. It is not his job to be fair, measured or respectful. 
He is supposed to allow us to confront our discomforts when we were trying to run away.
Because Fahmi knows that is the whole point of freedom. - Mkini


JAMES CHAI is a political analyst. He also blogs at www.jameschai.com.my and he can be reached at [email protected].

The views expressed here are those of the author/contributor and do not necessarily represent the views of MMKtT.

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