Proposal_Naked

Proposal

Prepared by Gardencraft Co.

Art In The City Public Commissioning Programme Written 15 October 2020

for CENDANA, Cultural Economy Development Agency, Malaysia

Proposal

“Naked: The Unglazed Clay is a celebration and appreciation of the beauty of unglazed pottery in Sarawak…”

– Tuson Chong, 23 Oct 2020

Abstract Housing a multi-generational trade which has travelled from China to the shores of Borneo, Sarawak is a special place for Chinese pottery. However, this is only one of two categories of traditional Sarawak pottery. The other category encompasses those created by the native communities, including the Ibans. But both these trades may be under threat in our changing times and tastes.

Naked: The Unglazed Clay sets out to explore the deep roots of prehistoric and traditional Sarawakian pottery, as well as reimagine its contemporary counterparts. The artists have one unanimous language: to explore the beauty of ceramics in its purest and most simplistic form – unglazed. The intention of this showcase is to revive the art of clay through immersive, curated experiences such as refined dining, curatorial tours, pottery demonstrations and workshops, and an installation.

2.1

Context

2.2

Objective

2.3

Site

2.4

What About Kuching

Pottery is an industry that has existed for centuries in Sarawak, but the culture of pottery making is dying out, as many then-famous pottery studios have closed shop through the years. To Tuson Chong, a Kuching based ceramicist, many of businesses have lost their artisanal touch as they move towards industrialisation of their wares. He is now working towards reviving the practice of pottery making in Sarawak by teaching those eager to learn.

In the 1950s-60s, Niah Cave was the focus of excavation led by then-Curator of Sarawak Museum, Tom Harrisson. It was found that the human use of caves had changed from a temporary settlement for the nomads to a major repository of the dead around 4,000 years ago. There is evidence for the use of pottery as burial jars and funerary gifts, and later evidence for the deposition of imported metals, ceramics, and glass.

About The Artists Andah Lembang Goh Ah Soon

Traditional pottery made in Sarawak, on the other hand, is of two distinctive types – one done by the Iban, Murut and Kelabit potters and the other by Chinese potters. The latter can be best represented through Goh Ah Soon, a Living Legend of Chinese Pottery awarded by the Sarawak Ministry. Mr Goh’s grandfather first set foot in Kuching in the early 19th century and set up his pottery at Tanah Puteh, synonymous to the white clay they used to throw pottery then.

Gerald Goh Nabillah Abdullah Joshua Teo

The rich history of Sarawakian pottery and the artists trying to uphold the endangered art.

Extracted from: https://tinyurl.com/tusonchong https://tinyurl.com/andahlembang

Meanwhile, Adiguru Andah Lembang has been keeping the practice of making traditional Iban pottery alive in his little, nondescript workshop by the lake borne from Batang Ai dam. He learnt how to make pots as each family had to make their own.

There were no options of buying metal utensils back in the day as we do now. That Batang Ai dam was impounded made it even more efficient for the locals to travel mainland in order to purchase goods. This ultimately led to the demise of the traditional clay pots, as they were replaced by modern plastic containers and metal receptacles.

https://tinyurl.com/niahcave

Naked: The Unglazed Clay sets out to explore the deep roots of prehistoric and traditional Sarawakian pottery, as well as reimagine its contemporary counterparts. The exhibition will therefore also feature contemporary works from Ceramic Young Masters Gerald Goh and Nabilah Abdullah, and curator-artist Joshua Teo.

Culture and Heritage Naked: The Unglazed Clay would delve into the nuances of prehistoric pottery, traditional Sarawakian Chinese pottery and that of the Dayaks (natives of Sarawak), and contemporary pottery. The significance of this exhibition stretches far beyond education and exposition; it is a symbol of a sacred culture and heritage that we no longer know.

Heritage Preservation To revive an endangered art is to practice it. In preparation of this showcase, we inquire what it means to preserve this way of life and why should we should preserve it. We preserve the practice not because it is no longer relevant; but on the contrary, it is significant in our daily lives. Try living a day without clay; it’s virtually impossible. It affects all of us, as should it rightfully so.

Sustainability Culture and Heritage Heritage Preservation Sustainability Experiences Narratives and goals that the exhibition will be undertaking to promote a healthier ecosystem for the arts in Sarawak.

In terms of the grander scheme of topics, we would also be investigating the possibility of using clay as a sustainable fabrication material. Terracotta has been used in vernacular architecture to passively cool down the atmosphere, rather than having air-conditioner. We as artists bear the responsibility to constantly reexamine an alternative, as the showcase should.

Experiences As a collective of artisans, we believe that our art not only inspires, but it should also be experienced. By involving humanistic values such as smell, touch, taste, and sight, we aim to produce a holistic curated experience of consuming art.

World Craft City Designated by World Craft Council, 2019 A fort during the White-Rajah era; now a dedicated museum for the history of Sarawak.

Photo by: Brooke Heritage Trust https://www.brooketrust.org/

Fort Margherita (Proposed) We are confident with the site choice for the exhibition, as Kuching boasts of its richness in craft, culture, and heritage. Our first proposed site sees us at The Brooke Gallery at Fort Margherita, now a dedicated museum for the history of Sarawak.

The courtyard would then be a suitable setting as the function is similar in nature to our needs. Many visitors frequent the fort, which could increase traffic for the showcase.

HAUS KCH (Proposed) HAUS KCH Tanah Puteh A community-led project for the creatives.

Another choice for our site could be HAUS KCH, which is a community-led and community-powered project which revitalised an abandoned building into a creative and community launchpad. The project features events, workshops and initiatives coordinated in-house.

Photo by: HAUS KCH https://www.hauskch.com/

In the early days, local Sarawakians produced a limited volume of pots using clay from Tanah Puteh, a clay bed located next to the Sarawak River that flows through Kuching. HAUS KCH just so happens to be located within this historical site by the same name today, “Tanah Puteh�. It is then apt to site our showcase here, with a huge opportunity to network and collaborate with other artists.

What About Kuching Happening Every October in Kuching A community-driven festival of the arts, culture, and lifestyle. https://aboutkuching.com/

What About Kuching (Proposed) Happening every October, WAK is a community-driven monthlong festival of the arts, culture and lifestyle of the people of Kuching and Sarawak, filled with a multi-genre programme centred in the city of Kuching and radiating outwards towards greater Kuching.

Naked: The Unglazed Clay will be bidding for a spot in the creative festival which has garnered thousands of visitors. WAK will be able to promote events to the wider audience, local and foreign alike. Being a part of the WAK community will also encourage many potential collaborations between the collaborators and facilitate greater networking within the Arts, Culture & Lifestyle community.

3.1

Programme

3.2

Installation

Naked: The Unglazed Clay sets out to explore the deep roots of prehistoric and traditional Sarawakian pottery, as well as reimagine its contemporary counterparts. The artists have one unanimous language: to explore the beauty of ceramics in its purest and most simplistic form – unglazed. The intention of this showcase is to revive the art of clay through immersive, curated experiences.

A

Exhibition

B

Talk & Workshop

C

Pottery Demonstration

D

Dining on the Clay

E

Tuak Workshop

A

Exhibition Curatorial Tour, Panel Details Exhibition Date: 15-31 Oct, 2021 Time: 6pm-10pm

Naked: The Unglazed Clay sets out to explore the deep roots of prehistoric and traditional Sarawakian pottery, as well as reimagine its contemporary counterparts. The exhibition will be subdivided into three categories—Prehistoric, Heritage, Contemporary—of which the artists are experts.

Curatorial Tour Date: 16-17 Oct, 2021 Time: 2pm-3pm Led by: Joshua Teo Panel Date: 17 Oct, 2021 Time: 6pm-7pm Moderator: Dr Franca Cole

Prehistoric With ceramicist Tuson Chong and archaeology expert Dr Franca Cole, the Prehistoric section will exhibit replicas from the Niah cave.

Heritage With Andah Lembang representing Iban pottery and Goh Ah Soon representing Chinese pottery, the Heritage section will show works of traditional Sarawak pottery.

Contemporary With Gerald Goh, Nabilah Abdullah, and Joshua Teo, the Contemporary section will display a range of modern ceramic wares.

B

Details Talk on Archaeology Date: 23-24 Oct, 2021 Time: 12pm-6pm

Talk: The Archaeological Site of Niah Workshop: Prehistoric Pottery Dr Franca Cole, Tuson Chong

Pottery Workshop Date: 23-24 Oct, 2021 Time: 12pm-6pm

Dr. Franca Cole, amongst many other accolades, is a consultant in conservation and archaeology at the Sarawak Museum. With her PhD thesis on the burial caves of Niah, she will also be sharing her findings on the hundreds of thousands of prehistoric pieces that she’s worked with.

Tuson Chong, founder of Gardencraft Co., has been a tutor of pottery for over 2 years. His experience in the industry allows him to produce his own materials like glaze, using local ingredients. Getting locallysourced clay from suppliers, the clay comes raw and is processed inhouse to remove impurities to make it usable for hand-building and hand-thrown ceramics on the potter’s wheel.

C

Heritage Pottery Demonstration Andah Lembang (Proposed), Goh Ah Soon Details Demonstration Date: 16-17 Oct, 2021 Time: 4pm-6pm Photo by:: Kraftangan Malaysia

Andah’s efforts to preserve the art of Iban pottery was officially recognised by Malaysia when he was appointed as an Adiguru by Kraftangan Malaysia in 2006. Artisans like Andah are often invited to attend Kraftangan Malaysia workshops and events, where they are given the opportunity to conduct training and demonstrations, sell their products and network with other members of the industry.

Goh, on the other hand, is a fourth generation potter dubbed “Living Legend of Chinese Pottery” due to his experience in potting and vast knowledge passed down through generations. He is now one of the few practicing potters in Kuching.

D

Dining on the Clay Dine With Fed Details Dining Date: 23-24 Oct, 2021 Time: 8pm-10pm Photo by: Dine With Fed Extracted from: https://tinyurl.com/dinewithfed

After training and working in Singapore, homegrown chef Hazel Tang has returned to Kuching and created FED — a series of pop-up dinners and food-themed parties. While her pop-up dinners feature elevated flavours and well-conceived menus with concepts such as modern Asian and rustic comfort French, her food-themed parties offer comfort food with a twist.

With our friends at FED, we will be curating a series of unglazed ceramic wares just for this pop-up dining experience. The contemporary dining experience will concoct a 5-course meal with the wares that our featured artists have made.

E

Tuak Workshop Borneo Bengkel Details Tuak Workshop Date: 23-24 Oct, 2021 Time: 5pm-6pm

There are many foods that taste better because they’re traditionally made in ceramic wares, and the beloved Tuak is one of them. We will be featuring a Tuak workshop moderated by Borneo Bengkel, along with several other programmes the Bengkel has to offer.

Photo by: Tenun Asia

Borneo Bengkel is a creative platform that explores issues of Bornean identity and culture through the eyes of craft makers, filmmakers, artists, social activists, academicians and performers.

Concept Examining the use of clay or terracotta in an installation art.

Artwork by: Lionel Kueh

Terracotta Terracotta clay is a very interesting material to shape, however it is done so usually in small volumes. There aren’t many local installations that utilise terracotta, but we can find several case studies elsewhere where we see the passion red of the terracotta shine through as a statement on its own.

Cooling System We would also be investigating the possibility of using clay as a sustainable fabrication material. Terracotta has been used in vernacular architecture to passively cool down the atmosphere, rather than having air-conditioner.

Concept Terracotta

Recyclable Material Clay can be recycled and reused. In addition, it is an abundant renewable resource. We will also be delving into the use of discarded terracotta roof tiles as a cheaper means of fabrication.

Cooling System Recyclable Material Naked

Naked: The Unglazed Clay To reiterate the exhibition’s theme, terracotta’s beauty in its unglazed form definitely strives to celebrate local pottery through its most simplistic form, honouring the humble heritage that we have.

4.1

Case Study

4.2

Post-Event

4.3

Impact

Art and culture are both powerful forces in our society. They penetrate and affect our consciousness, they spark the imagination of those who come into contact with them. The idea that art can change the world, one person at a time, is a powerful one.

- Renzo Piano

CoolAnt: Natural Air Cooler

by Ant Studio, India.

In India, heat waves are prevalent during summer season and stepping out in the sun would mean getting sun burnt in most parts of the country. The heat is so intense that it is normal to reach 40C. This makes it difficult for people to survive the sweltering heat.

The design was inspired by the structure of a beehive. It used environment-friendly elements to construct an aesthetic and practical piece of art. The use of cylindrical cones provided for a larger surface area to maximize the cooling effect.

Water recycled from the factory at room temperature was allowed to run on the surface of the cylinders. This process cooled the hot air passing through the earthen pots. It was observed that after achieving the cooling effect, the temperature around the set up dropped down from 42C to 36C. Extracted from: http://ant.studio/beehive

The Beehive

by Luigi Rosselli + Raffaello Rosselli, Australia.

Architecture is often reliant on expensive and scarce materials to define its value. The beehive explores how an undervalued waste product, like the ubiquitous terracotta roof tile can be redefined and revalued. This exploration of waste as a material stems from the knowledge that construction creates up to 50 percent of Australia’s waste output; and that a buildings energy footprint is largely based on the materials embodied energy.

Material reuse solves both these environmental impacts and is by far the most efficient form of building.

Raffaello Rosselli collaborated with Luigi Rosselli architects to design their new office building. Through experimenting with waste material reuse on its own studio it aims to be a role model for future projects.

Extracted from: https://luigirosselli.com/publiccommercial/workspaces/beehive

Digitalisation and Documentation The entire showcase will be documented in detail in digital format, that is, videos and photos. The stories, experiences, and data will be released online so that the valuable information we share become open-sourced and publicly accessible to the wider audience.

Installation After the showcase, we intend to fully utilise and preserve the terracotta installation as a case study for future Kuchingites or Malaysians alike. It will be placed at Gardencraft Co. should there be parties interested in renting or buying.

Exhibition We will always be on the lookout for the exhibition to continue to tour around Malaysia. We hope to see the works of Sarawakians in galleries such as the National Art Gallery, Sarawak Museum Complex, Sabah Art Gallery, or even boutique galleries like the Zhongshan Building or REXKL.

Covid Ready The exhibition will be curated with the ongoing pandemic in perspective, taking necessary precautions and backup plans to ensure that the show does go on, albeit under restrictions.

Reviving a Dying Bornean Art The exhibition features living legends and master craftsmen with the likes of Goh Ah Soon and Andah Lembang for their traditional Sarawak pottery. Their contribution has helped shape the development of pottery in the 1900s. In contrast to that, by showcasing pottery works of contemporary artists, we illustrate the viability of a career in pottery. We must ensure that the art does not die out by constantly informing the public.

Creative and Cultural Economy UN declares 2021 as International Year of Creative Economy for Sustainable Development, as the cultural economy and art ecosystem is important for a holistic and diversified economy.

This project provides a platform for artists to cross-collaborate, thus stimulating creative and cultural exchange.

Clean Materials Using the inexpensive, unsophisticated terracotta allows us to shape positive views on this humble sustainable material. We fully intend to produce stellar artworks from unglazed clay.

Energising the Arts With What About Kuching 2021 and it being a World Craft City, Kuching certainly has a strong artistic presence. It is therefore sensible to ride on these accolades and festivals to market our city and the art of clay itself. We want to amplify the presence of clay on a younger audience as well as market the artisans to the public, linking them to the general audience and art lovers.

Education One of the most important and hardest jobs of an artist is to get a conversation started about art. By having a subject matter that is close to heart, and by focusing on stories and experiences rather than mere visuals, we believe we can start the conversation rolling on arts and heritage preservation.

Artist

Tuson Chong

Artist

Andah Lembang

Artist

Gerald Goh

Archaeologist

Dr Franca Cole

Curator

Joshua Teo

Artist

Goh Ah Soon

Artist

Nabilah Abdullah

Dining

Dine With Fed

Tuak

Borneo Bengkel

Background The exhibition seek to connect various artists in the industry to maximise collaboration and practical efforts in reviving the dying art of pottery in Sarawak.

Tuson Chong 1. Gardencraft Co., 2018 – Present Founder and Tutor Sole Pottery Studio in Kuching 2. Plantscape Resources, 2016 – Present Founder and Principal Landscape Architect 3. Colin K Okashimo & Associates, 2010 – 2015 Sculptor and Landscape Architect 4. Garden & Landscape Centre, 2008 – 2009 Environmental Professionals, 2007 – 2008 Cicada, 2006 – 2007 Landscape Architect 5. Jessie Lim Ceramics, 2004 – 2007 Pottery Apprentice

Andah Lembang 1. Sole Master Craftsperson in Iban Pottery 2. Kraftangan Malaysia Awarded “Adiguru” Title 3. Exhibitions Pottery Emotions 4. Demonstrations and Commissions Kraftangan Malaysia, Sarawak State Museum, Japan

Gerald Goh 1. Renowned Sarawakian Artist and Third Generation Potter

Publication Tuson, The Borneo Post https://tinyurl.com/tusonchong Andah, The Borneo Post & Kraftangan https://tinyurl.com/andahlembang https://tinyurl.com/andahlembang2 Gerald, The Borneo Post https://tinyurl.com/gerarldgoh

2. Duncan Institute for Advance Ceramics Specialisation in Art Glazes and Stoneware Ceramics 3. Sarawak Handicraft and Souvenir Association President 4. Sarawak Artists Society Vice-president 5. Exhibitions The Contemporary Malaysian and British Crafts Exhibition

Dr Franca Cole 1. Sarawak Museum Campus, 2017 – Present Research Fellow and Guest Curator in Archaeology and Conservation 2. Nanyang Technological University, 2019 – Present Lecturer in Collections Care and Management 3. Freelance, 1995 – Present Archaeological Conservator and Finds Expert 4. University College London, 2013 – 2017 Lecturer in Conservation Studies 5. University of Cambridge 2006 – 2011 PhD, Archaeology MPhil, Archaelogy University College London BSc, Archaeological Conservation Science

Joshua Teo 1. Pi Concept Lab, 2019 – Present Creative Director 2. Art In The City: Entwine, 2019 – 2020 Project Manager 3. Design Network Architects, 2019 – 2020 Interior Designer 4. Chung Yuan Christian University, 2014 – 2018 BA, Interior Design

Profile Dr Franca Cole https://tinyurl.com/francacole Joshua Teo https://tinyurl.com/joshuateo

5. Asia Young Designer Award, 2017 – 2018 Champion (National) Runner-up (Asia) Future Is Now Design Award, 2017 Champion

Goh Ah Soon Goh, on the other hand, is a fourth generation potter dubbed “Living Legend of Chinese Pottery” due to his experience in potting and vast knowledge passed down through generations.

He is now one of the few practicing potters in Kuching. Mr Goh’s grandfather first set foot in Kuching in the early 19th century and set up his pottery at Tanah Puteh, synonymous to the white clay they used to throw pottery then.

Nabilah Abdullah Sarawak Craft Council’s ceramic clay young master Nabilah Abdullah has handcrafted her special brand of beads. She handcrafts her beads which are called the “mocha diffusion beads”. Each clay is painted on differently, making each sizeable and somewhat heavy bead on a necklace or earring distinctly unique from each other. Nabilah has taught other women in the community on how to design their gasing (top).

Publication Goh Ah Soon https://tinyurl.com/gohahsoon Nabilah, Malaysian Reserve https://tinyurl.com/nabilahabdullah Hazel, New Sarawak Tribune

Dine With Fed It is undeniable that Kuching’s gastronomic scene is very much built upon the kopitiam culture. However, sometimes it does not hurt to spice up the comfort zone a little. Homegrown chef Hazel Tang hopes to do just that. After training and working and in Singapore, she has returned to Kuching and created FED — a series of pop-up dinners and food-themed parties. While her pop-up dinners feature elevated flavours and well-conceived menus with concepts such as modern Asian and rustic comfort French, her food-themed parties offer comfort food with a twist.

https://tinyurl.com/dinewithfed Borneo Bengkel, The Borneo Post https://tinyurl.com/borneobengkel

Borneo Bengkel Borneo Bengkel is a creative platform that explores issues of Bornean identity and culture through the eyes of craft makers, filmmakers, artists, social activists, academicians and performers.