Abstract This article examines the organisation and methodologies of current art and cultural collectives in Malaysia, with resonance for Southeast Asia, through the lens of socially engaged and public participatory art theories. The article proposes an inclusive aesthetics that looks at the complementary effects of dialogue, reciprocity, transitional meaning and durational process in responding to the everyday. It employs the framework of Art-Led Participative Processes, a concept-based cross disciplinary critical framework that I have constructed to raise discussion. The works of Buku Jalanan will be mapped out within the contexts of Kuala Lumpur, those of inherited postcolonial structures that prescribes current usage of public spaces, acts of expression and activities, paying attention to a particular form of ‘distant subjectivity’ that informs contemporary cultural values called ‘functional harmony’ that is prevalent in Southeast Asia. The experiences of BJ, while not treated as representational of other collectives, are used to launch discursive points for coming to terms with open-structured, socially engaged, public participative and democratic activities.

中文翻译：

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通过以艺术为主导的参与过程，解开马来西亚和东南亚公共空间工作的美学

摘要 本文通过社会参与和公众参与的艺术理论，探讨了马来西亚当前艺术和文化集体的组织和方法，并引起东南亚的共鸣。文章提出了一种包容性美学，着眼于对话、互惠、过渡意义和持续过程在回应日常生活中的互补作用。它采用了以艺术为主导的参与过程的框架，这是一个基于概念的跨学科批判框架，我构建了它来引发讨论。Buku Jalanan 的作品将在吉隆坡的背景下被绘制出来，那些继承了后殖民结构的建筑规定了公共空间的当前使用、表达行为和活动，关注一种特殊形式的“遥远的主体性”，它体现了东南亚流行的当代文化价值观，称为“功能和谐”。BJ 的经验虽然不被视为其他集体的代表，但被用来发起话语点，以适应开放式结构、社会参与、公众参与和民主活动。