Tan Zi Hao introduced some of his works to us, such as The Soil is not Mine (2013) and Endless Possibilities (2013) which fall under the category of nationhood; Negaraku. Bukan. (2014) and The Danger of Translation (2014) that fall under the group of language; Classroom (2012), Attempting Conflict (2012), A Reminder of a Remainder (2015) which fall under body; and also Pest Control (2013) and Xenophoric Shellpickers (2014) which fall under contradiction.
Among all these works, The Soil is Not Mine impressed me the most. Every packet comprises soil from Malay Reservation Lands, soil from the artist's home, a torn copy of the artist's birth certificate, and the artist's sperm. First thing first, Bumiputra (The Son of the Soil), does it means that the soil, the tanah belongs to them? What about us being the non-Bumiputra? Tanah, the place we were born, we stand on it, bury and decompose our dead body in it after we die. What is our relationship with the soil then? Are we just like those germs which inhabiting on the Malay Soil, the Tanah which belongs to Melayu? In this case, we should have identified ourselves as Malaysian-Chinese (a Chinese who come from Malaysia) instead of Malaysian. But, no one can certify who owned the tanah, maybe it's owned by the Bumiputra, maybe it's owned by the non-Bumiputra, maybe, in the most appropriate way - it's owned by no one. Regardless the ownership of the tanah, since it's the place we stay, we should love it, appreciate it, and make good use of it.
