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KINGDOM OF REBEL#2 YANG TERUTAMA, YANG TERAGUNG ART HK 11 SENI VISUAL DAN HAKCIPTA (2) PERANAN KURATOR DI MALAYSIA

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Agak sukar juga hendak di percayai bahawa pada 6 Jun ini genaplah setahun saya berkhidmat sebagai Ketua Pengarah Balai Seni Lukis Negara (BSLN). Secara peribadi, tempoh setahun ini bukanlah satu jangka masa yang mudah namun saya menaruh harapan dan percaya bahawa kehadiran saya telah membawa kelainan kepada institusi yang dikasihi ini. Kepercayaan ini adalah berdasarkan respon daripada staf dan berbagai maklumbalas positif yang saya terima daripada pelanggan dan pengunjung.

nota

Walaupun saya berpuas hati dengan perkembangan ini, saya berasa lebih teruja untuk memenuhi harapan orang ramai, pelanggan dan mereka yang berkepentingan dalam BSLN. Insya’Allah, dengan sokongan dan galakan daripada semua pihak, saya akan terus melakukan yang terbaik untuk institusi ini. Saya juga amat menghargai pihak media yang kerap membuat liputan mengenai BSLN. Staf saya juga harus diberi pujian kerana telah berjaya menyahut cabaran-cabaran yang diajukan kepada mereka serta sikap positif dan keupayaan mereka melaksanakan segala tugasan. Kami bekerjasama sebagai satu pasukan. Sekian lamanya tempoh berlalu sejak BSLN mempamerkan karya-karya dari khazanah kebangsaan secara besarbesaran. Kebelakangan ini, para pengunjung mungkin menyedari bahawa 90% karyakarya yang dipamerkan dalam 5 pameran serentak baru-baru ini adalah daripada koleksi tetap kita. Usaha ini adalah selaras dengan tujuan kami untuk mempersembahkan seberapa banyak yang mungkin hasil senilukis daripada koleksi tetap kami. Sambutan dari pengunjung amat menggalakkan. Saya berhasrat untuk menjadikan beberapa hasil karya senilukis yang penting sebagai lambang atau simbol yang secara automatik akan dikaitkan dengan BSLN dan sebaliknya. Pameran “Kasihnya Ibu” yang diadakan dalam bulan Mei sempena “Hari Ibu”, merupakan satu kejayaan yang besar. Ia telah dilancarkan oleh YB Datuk Seri Sharizat Abdul Jalil, Menteri Wanita, Keluarga dan Pembangunan Masyarakat pada 10 Mei. Acara pelancaran tersebut telah berjaya menarik lebih kurang seribu orang pengunjung. Kehadiran YAB Tun Dr. Hajjah Rahah Noah, ibu kepada Perdana Menteri kita sebagai tetamu kehormat membawa natijah yang amat bermakna kepada acara berkenaan. Dalam jangka masa dua bulan ia diadakan, pameran “Kasihnya Ibu” telah menarik seramai lebih kurang dua belas ribu pengunjung termasuk pelajar-pelajar sekolah daripada seluruh negara, sekaligus membuktikan keyakinan saya bahawa tema pameran yang mudah dan berdasarkan kehidupan biasa dapat menarik perhatian ramai. Saya bercadang untuk membawa pameran “Kasihnya Ibu” ini ke Pahang dan Sabah. Pada awal Mei, saya telah melakukan lawatan singkat ke Perth dan berpeluang mengunjungi National Art Gallery of Western Australia serta berjumpa dengan pengarahnya Dr Stefano Carboni, yang pernah bekerja selama beberapa tahun sebagai kurator and pentadbir Jabatan Senilukis Islam di New York Metropolitan Museum of Art. Beliau sangat berminat untuk bekerjasama dengan Muzium Kesenian Islam kita, dan kami juga berbincang tentang kemungkinan diadakan usaha sama antara kedua-dua institusi kami. Di persada tempatan, saya berkesempatan mengunjungi dan menjalin hubungan dengan pelukis-pelukis di Langkawi, Kota Bharu, Kota Kinabalu dan Kuantan. Saya akan terus turun padang pada bulan-bulan yang akan datang dan berharap usaha ini akan dapat menjalin kerjasama yang lebih erat lagi antara BSLN dengan berbagai warga seni dalam negara ini. Isu terkini mengandungi pelbagai coretan yang menarik daripada penulis tetap dan penulis rencana kami, selaras dengan objektif kami untuk memberi pembaca sebanyak mungkin berita-berita terkini tentang perkembangan seni di dalam dan di luar negara. Selamat membaca.

Editor's notes

The 6 th of June marked my one year with the National Art Gallery (NAG). It is hard to believe that I have actually crossed one year of my tenure as Director-General of the NAG. Personally, it had not been easy, but I would like to believe that I have made a difference to this cherished institution. My conclusion is based on the responses from my staffs and the various positive feedbacks I get from our clients, visitors and others. While I am pleased with this, the pressure increases for me to live up to the high expectations of the public, stakeholders and clients of the NAG. Insya’Allah with the support and encouragement from all parties, I will continue to do my best for the institution. I would like to thank the media for their regular coverage of the NAG. My staff also deserves a pat on their backs for responding to my challenges and their positive attitude and delivery. We work well as a team. It has been a long time since the NAG showcased a maximum number of artworks from our national collection. Of late though, visitors would have noted that some 90% of the works on display at the last five simultaneous exhibitions were from our permanent collection. This is in line with our aim to showcase as much of our permanent collection as possible. Visitors’ responses have been good. What I would like to do now is to iconize a few of our important artworks so that NAG will automatically be indentified with them and vice versa. Our exhibition "Kasihnya Ibu", in conjunction with "Mother’s Day" in May was a huge success. Launched by YB Datuk Seri Sharizat Abdul Jalil, Minister of Women, Family and Community Development on the 10th May, the occasion brought some one thousand strong crowd. The presence of YAB Tun Dr. Hajjah Rahah Noah, mother of our Prime Minister as guest of honour, complemented the occasion fittingly. In its two month’s run, "Kasihnya Ibu" pulled in some twelve thousand visitors including busloads of school children from all over the country, proving my point that simple and familiar theme for an exhibition attracts the public. I now plan to take it to other venues, in Sabah and Pahang for a start. In early May, I had a short break in Perth and took the opportunity to visit the National Art Gallery of Western Australia and established contact with its director Dr. Stefano Carboni, who previously had worked several years as curator and administrator in the Department of Islamic Art at the New York Metropolitan Museum of Art. He is keen to collaborate with our Muzium Kesenian Islam’ (Islamic Arts Museum) and we also discussed possible collaboration between our two institutions. On the local front, I had the pleasure to visit and network with artists in Langkawi, Kota Bahru, Kuantan and Kota Kinabalu over the last month. I will continue to ‘ turun padang ’ in the coming months and I hope that this gesture will bring greater collaboration between NAG and the various art communities in the country. This issue of contains many interesting write-ups by our regular and feature writers, in line with our objectives to keep our readers abreast with the art happenings inside and outside of Malaysia as much as we can. Happy Reading.

Ambassador Dato’ Mohd Yusof Ahmad Editor-In-Chief


29 Seni di Sini: Edu@NAG

The art of living -Shelley Broome

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Malaysian Artist Abroad-Suhaimi Fadzir & HH Lim

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Bsln Sana-Sini

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Advertise

Art as medicine -Andrew Ng

A passion for sketching art -SH Lee

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2425 Peranan kurator di Malaysia -Nur Hanim Khairuddin

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Art HK 11 -Suraya Warden

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Hoe Say Yong: 'Ripple of Colours works its magic'

Kingdom of Rebel #2-Majidi Bin Amir

Seni visual dan hakcipta (2) -Bed Samat

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Abd Rani Abd Majid, pelukis yang membawa nama ke persada dunia -Rahinidin Zahari

Works that are 'yang terutama', 'yang teragung' -Ooi Kok Chuen

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'Kembali ke tanah ayer' -Tan Nan See

'Object jumpaan dalam seni visual'-Baktiar Naim

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C O N T E N T S

PUBLISHER Balai Seni Lukis Negara (BSLN) National Art Gallery Malaysia(NAG) Ministry of Information, Communication and Culture Malaysia No 2. Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur MALAYSIA P : 603 4026 7000 F : 603 4025 4987 www.artgallery.gov.my www.facebook.com\artgallery.gov.my l EDITOR-IN-CHIEF Ambassador Dato’ Mohd Yusof Ahmad l EDITOR Tan Seihon l ASSISTANT EDITORS Anis Amizan Hussein Lim, Osmi Hamidi | HEAD DESIGNER Shamizar Rahim | DESIGNER Norhaslina Ahmad Kamsin l PHOTOGRAPHY Mohd Khazrul Sharuddin, Mohd Yuzaini Ahmed, Mohd Adzim Abd Wahab l senikini is designed by Nuzaihan Mustapa can be accessed at

www.artgallery.gov.my/web/guest/senikini_bsln www.facebook.com/pages/SENIKINI/147594866220 senikinibsln.blogspot.com

Any feedbacks and comments please email to us at : anis@artgallery.gov.my and tanseihon@hotmail.com The publisher, National Art Gallery Malaysia, holds the copyright to all editorial content. SENIKINI (ISSN : 1985-7233) is published six times a year by the National Art Gallery Malaysia. All Rights Reserverd. Copyright Š 2011 SENIKINI Malaysian Art Now Printed in Malaysia.

"... kemajuan tradisi moden dan penerusan tanpa henti dari batas-batas inovasi sekarang sudah mati. Originaliti sudah mati; tradisi artistik Avant-garde telah mati; semua kepercayaan dan visi utopia mati dan perlawanan terhadap status quo tidak mungkin kerana terlalu revolusi sekarang mati. Suka atau tidak, kita manusia terjebak dalam krisis makna yang kekal, ruangan gelap yang tidak dapat kita hindari. Apakah kita perlukan pemberontakan untuk terus hidup atau pemberontakan juga telah mati ?

MASH CULTURA - Tika Pemberontakan Itu, Sudah Mati !

(Terinspirasi oleh Kalle Lasn's Contemporary Society)Irene Agrivina, 2010

www.artmalaysia.com.my


11July - 5 Sept. 2011 Gallery 3A & 3B

Wayang

U-Wei Angkat Saksi

The National Art Gallery (NAG) is pleased to host the exhibition "Wayang U-Wei Angkat Saksi”. Initiated by Malaysia’s award wining film director, U-Wei bin Haji Saari, the exhibition features visual artists specially invited by the director to produced works in artistic response to his body of films. Among the esteemed visual artists are Ahmad Zakii Anwar, Tengku Sabri Ibrahim, Mastura Abdul Rahman, Ilse Noor, Shia Yih Yiing, Amiruddin Ariffin, Fadzil Idris, Elias Yamani Ismail and significant others. The exhibition showcases works in various mediums and dimensions and is open to the public from the 11th July- 5 September.

ARTIST AHMAD ZAKII ANWAR AMIRUDDIN ARIFFIN ELIAS YAMANI ISMAIL FADZIL IDRIS ILSE NOOR MASTURA ABDUL RAHMAN SHIAH YIH YIING TENGKU SABRI IBRAHIM

www.artgallery.gov.my


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the morning of April 24, a small group of sketchers gathered outside the Brickfields monorail station. They were members of the Facebook based 'KL Sketchers' and they had met up for the first time to engage in three hours of artistic pursuit. Established on Feb 6 2011 by ES Tung, the group picked Brickfields for their inaugural outing. Although only six members were able to make it due to the short notice, the members’ enthusiasm for sketching was evident in the postings on the group’s Facebook page, which covered scenery from the Vivekananda Ashram building to the flower traders of Little India. For part-time art teacher Goh Siaoshan, 29, it was a wonderful trip. “It allowed me to meet other sketchers and see their working methods,” said Goh, who uses watercolour and a sketch pen. For Hisham Salmin, 38, who has been into art since he was a boy, he has lately been captivated by streetscapes.

| SH LEE

“I sketch whenever that catches my attention,” said the creative director of a publishing firm. “Signages, old shop houses, roadside stalls or public activities, you name it. Now, through KL Sketchers’ Facebook group, I can share my passion with friends who are from various background, religious beliefs and races," said the Johor-born who works primarily on charcoal and graphite. Communication engineer Kamarul Azhan Nordin, 40s, whose diverse interests include cycling and running, says he got reacquainted with his sketching pencils again six years ago. “I have no formal training in art, or sketching, but I am now beginning to enjoy sketchcrawl activities with the group,” he said. Fondly known among members as KA, Kamarul sketches on moleskine using Koi field set. He is usually armed with his foldable Dahon bike which he uses to get around, and sit on when he sketches. For microbiologist Pang MY, 30s, the interest in sketching drew her all the way from Kluang, Johor, to be at the first sketchcrawl. “I don’t mind coming up to KL to enjoy the few hours of outing,” said Pang who uses a Windsor Newton Bijou box set and sketches on moleskine.

“Out first outing was amazing! I never knew outdoor sketching can be so much fun. Basically I met up with a group of great people sharing the passion for art, experiences, jokes and laughter,” she said. “For some unknown reason, I managed to overcome the fear and embarrassment of sketching in public. The experience was priceless!” For stock trader Lok Eng Wah, 55, his passion for art was recently reignited through the group and interaction with other sketchers. “I enjoyed it very much,” says Lok who uses ink and watercolour. “I find it very stimulating and challenging, and a fine opportunity to meet likeminded friends.” Lok is also among the most active members on the KL Sketchers Facebook site. “Actually the sketchcrawl was my first-ever outdoor live sketching experience with a group,” he said. “When I showed my pieces to my daughter, she boosted my confidence by saying: ‘Dad, I can see that you are new to this!’ ”

However, the group is not about showing off artistic skills, says KL Sketchers creator Tung, 49. “I established it for sketchers and artists of all skill levels to join in the fun of doing art,” said Tung, who is a journalist with the New Straits Times. “Most of us are artistic, and can draw. But our self-consciousness and lack confidence in sharing our work tend to hold us back. “KL Sketchers was created as a healthy forum for sharing art, an avenue that transcends skill level, creed or colour. “Members post almost every day online. If it is not about their sketches, it is about the equipment they use or a book they want to share, it’s about an idea on art. “I think this is good for the development


" Whenever illness is associated with loss of soul, the arts emerge spontaneously as remedies, soul medicine." - Dr. McNiff (1992) | ANDREW NG

“Would you like to draw?” I tried to break the ice.

My

first encounter with art therapy took place when I was traveling in Beijing ten years ago. That early spring morning I was browsing in the hotel’s bookstore and was intrigued by a book entitled “Art as Medicine” by Dr. Shaun McNiff. Without hesitation, I bought the only copy and found it to be the most enlightening book I had ever encountered. Through the years of my private practice, art therapy not only equipped me to become more fulfilling as a therapist, more effective and versatile in dealing with my clients, and in group settings, but had also enabled me to extend my professional service and training platform from my own centre to schools, hospitals, institutions and NGOs both locally and abroad. I remembered vividly once a ten year old boy who was suffering from acute anxiety and refused to go to school for weeks. It was through the school counsellor that his father brought him to see me for therapy. 'Tommy' was suspicious and withdrawn, but soon settled into the sandpit by fiddling with the sand. After a few minutes he became anxious and restless again. “I know you are feeling uneasy in here, not knowing what to do.” I reflected his feeling. “Yeah….” He responded. “What would you like to do, Tommy?” I asked. “Don’t know.” he shook his head.

“Okay.” He hesitated but started drawing on A4 paper with carefully selected crayons. He seemed to feel more calm and relaxed with his art making. But soon he stopped and said that he was afraid. “What are you afraid of, Tommy? hoping that he would express his anxiety through symbolic images. “I saw a lot of monsters.” Tommy said in a very soft voice, “They came to frighten me when I sleep.” “I see, these monsters appeared in your sleep and you were scared.” I explored further,“How often they come to disturb you?” “Hmmm….very often.” He replied “When was the last time they appeared?” “Only yesterday.” His eyes reflected anxiety and fear. “What were these monsters doing to you?” “They came running after me and I was very scared….I screamed for help….and I woke up.” “It must be very frightening for you. Would you like to draw this terrible dream and talk about it?” “Draw….my dream?” Tommy seemed bewildered. “Yes, draw you dream out if you wish?” “Hmm….okay…I try.” He picked up a pencil and began to sketch his terrified dream. Fifteen minutes later, he came up with a dragon-head monster, joint with a dinosaur-like body painted with yellow, and with three pairs of red spider-like legs, complete with a scorpion-like tail. Upon finishing he looked at me and signed with great relief. “Yeah…this is it, the monster!” Tommy signed again.

“How did you felt when you woke up last night?” “I felt horrified….but I just cannot stay away from them….because they keep coming back.” “Well, is there a way where you can stop them?” I asked. “Okay….I’ll try.” He thought for a moment and come up with his own “solution” after putting his colours on paper - a yellow lion-head monster, mouth wide opened with sharp blue teeth, body covered with orange and red stripes, and with four strong legs running towards a person who Tommy put a word in his mouth “STOP”. “Well well, I saw you come up with your own way of handling the monster, right?” “Yes!” Tommy looked at me with his eyes wide open. “Tell me more about it!” I urged “Well….this particular monster often appears in my dream. It always come to disturb me and wants to eat me up!” “I see, but this time you made a decision to stop that monster.” “Boy, at first I ran for my life, but after a while I became angry so I ordered him to stop chasing me….because I had enough of that stupid running!” “Great! So you know how to handle the monster now.” “Yes, I guess so.” He said with sparks in his eyes. “You think you will do the same with other monsters, if they come again to disturb you?” “I should think so.” Tommy replied with confidence. “Okay, that sounds great, Tommy. Now you know how to keep these monsters away from your dreams.” “Sure.” He replied with a big smile. “So how do you feel about yourself now that you have these monsters under your control?” “I feel powerful and happy!”

of art,” said Tung, who uses a Windsor Newton watercolour field set. “If you immerse in anything related to art, then you interest in art will grow and inadvertently art itself will grow.” Camaraderie is evident at their group KL Sketchers on Facebook. Almost every day someone will post some artwork for sharing and critique by other members. At the moment, the group has 69 members including several foreign sketchers who are currently working in Malaysia. The youngest KL Sketcher is a 15-year-old. The group also boasts of artists whose works are frequently posted on the group’s Facebook page. Among them are Khoo Cheang Jin and Ch’ng Kiah Kien from Penang and FM Chang from Terengganu. To join the group, just search for KL Sketchers on Facebook or visit the URL: http://www.facebook.com/ home.php?sk=group_198802483469 693&ap=1

The session ended with Tommy painting a beach scene as a happy closure, and left with a sense of achievement on his face. Tommy continued to struggle with fear and insecure feelings over a period of few months till his anxiety vanished and his self confidence regain. My Andrew Ng (MCS) : * Founder & Director of Play & Expressive Arts * Play and expressive arts therapist and trainer * Play therapy pioneer in Malaysia since 1977 * First Malaysian to become APT's Approved Provider # 08-218 * Consultant for HUKM's Child & Adolescent Psychiatric Unit (2007-2008) * Author, columnist, water colour artist, TV2, NTV7, Channel 708, and AiFM invited guest * Guest lecturer for Bejing Capital Normal University, Bejing University, Shanghai Huadong University, Hangzhou Pediatric Hospital, Hong Kong University, and Soul-mate Counselling and Publication. website : www.malaysiaplay.com Email : andrewng@malaysiaplay.com

*Permission was obtained from the client's parents for the use of the artworks and conversations by the therapist.


SOME

truly remarkable and significant works were ‘unearthed’ in the exhibition called 'Yang Terutama' (Excellency), featuring the art collections of 14 former Malaysian ambassadors. The brainchild of National Art Gallery director-general Ambassador Dato' Mohd Yusof Ahmad, who is also a former ambassador and a collector himself, the exhibition brought together a selection of the art collection from 14 art-loving former ambassadors during their postings all over the world. The ambassadors’ roll-of-honour were Tan Sri Ahmad Kamil Jaafar, Tan Sri Razali Ismail, Tan Sri Abdul Halim Ali, Tan Sri Ahmad Fuzi Abdul Razak, Tan Sri Rastam Mohd Isa, Tan Sri Hasmy Agam, Dato K. Tharmaratnam, Dato N. Parameswaran, Dato Abdul Majid Ahmad Khan, Dato Noor Farida Ariffin, Datuk Dr Rajmah Hussain, Datuk Paduka Melanie Leong Sook Lei, Dato Cheah Sam Kip and Abdul Jalil Harun. There are also works by foreign artists, including a few ordinary stuff, but this article will take a hard look and pick out the museum-quality works by Malaysian artists, or works that should be in public institutions. On the basis of the known local works collected, the more serious collectors can be identified as Ahmad Kamil, Razali, Abdul Halim, Hasmy, Tharmaratnam and Parameswaran. Their collection is a measure of their refined and sophisticated taste, their stature and sharp eye, apart from their patronage.

Latiff Mohidin’s 'Pago-Pago' (1966, oil on canvas, 71cm x 56cm), which was one of two bought by Ahmad Kamil when he facilitated Latiff’s trip to Cambodia from Bangkok during the halcyon 1960s.

I will refrain from using the term, 'Envoy Art', which may connote works that were bought just as a perfunctory support rather than for the intrinsically powerful compositions and message. A profiling of the serious collectors shows they are often collectors during the 1960’s, though Parameswaran who started collecting in the mid 1980’s has gone on an overdrive, amassing nearly 3,000 works including 1,000 works of Vietnamese artists from the war years (Vietnam War).

The oil on canvas in his predominant red of the period has two stumpy monolithic forms, like impassive and impotent sentinels. The 73-year-old reclusive artist-sculptor-poet came up with his powerful 'Pago-Pago' spiritual landscapes in the 1960’s infusing Asiatic-Polynesian forms of agave-life vegetation, stupas/prangs, temples, ancient monuments and boat forms.

To cut to the chase, here are my TOP 12 pickings (highlighted in bold) vis a vis those by the same artists collected by the others, culled from works featured in this exhibition.

This Latiff vies for attention with another Latiff work, an unusually psychedelic 'Mindscape' (1983), containing a cryptic landscape, owned by Parameswaran. Ahmad Kamil’s other notable work is Datuk Syed Ahmad Jamal’s 1992 study of a large painting.

Nik Zainal Abidin Salleh’s 'Puja Pantai' (1960) is stunning for its ‘thanksgiving’ pomp and pageantry which often included 'Menora', 'Mak Yong' and 'wayang kulit' performances before they were all banned in Kelantan. It is in oil on canvas instead of his usual watercolours medium. At this time, the artist who designed the Kunci Ibu Kota, the cokmar (mace) and the Royal Throne of the Yang di-Pertuan Agong besides the Muzium Negara mural, had just joined RTM. This work worthy of ‘puja’ stands head and shoulders over Hasmy Agam’s Nik Zainal watercolours.

| OOI KOK CHUEN

Datuk Ibrahim Hussein’s ( 1936-2009) 'Concord' (1978, 163cm x 163cm) done on his return from his hugely successful tripartite exhibition together with Andy Warhol and Salvador Dali in Kuwait in 1977.

'YANG TERUTAMA, YANG TERAGUNG'

This work deals with his more amorous preoccupations playing on the sinuosity of forms and with the incipient flushes of his rhythmic line squiggles.

This work is the piece de resistance of the collection of Razali Ismail, who also has several still-lifes by Ahmad Zakii Ahmad, while Abdul Majid’s still-lifes by Ahmad Zakii is from his (Ahmad Zakii’s) 'Kendi' series.

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'Tidurlah Anakku' (1977, pastel on paper NOT canvas) is typical of Dzulkifli Buyong’s mock-Naïve humour seen in iconic works such as 'Paper Boats', 'Mosquito Nets' (both 1964) and 'Burning Ants' (1967) – all in the National Art Gallery’s collection. The work is owned by Parameswaran, who has a large collection of Dzul Buyongs and Nik Zainals, but he did not show any of his some two-dozen works of Choon Ghee, for whom he organised three solo exhibitions in 1986, 1988 and 1994.

A significant work that has probably not been seen in public for more than 40 years is Dato Hoessein Enas’ 1967 'Untitled' (oil on masonite board), a work of two women, probably a pretty daughter dutifully learning to make kuih from her mother, which tells about the traditional roles of women while helping to supplement the household income. This work was done after his major 'Retrospective' at the National Art Gallery in 1966. Another work, a pastel portrait of a woman, also belonging to Tharmaratnam, is riddled with heavy foxing stains.

'Tiga Yang Menyaksi' (featured on Page 79 of the book, Modern Artists of Malaysia, but put it as 'Untitled' in the catalogue), a 1966 oil on board, shows the artist Khoo Sui-Hoe at his enigmatic best with the hooded figures providing a protective cover over the female form lying Cleopatrafashion and partly submerged in water. The outlines of the combined heads look like mountain tops, contrasting with the backdrop of real blue hills in the backdrop.

Tharmaratnam also has a J. Anu (Untitled, 1992), known for his works depicting the harsh realities of the Indian socio-cultural conditions and the rural-urban dislocation.

Tharmaratnam’s Khalil Ibrahim batik (1971) after his first double solos at Samat Art Gallery in 1970, tips the scale over Razali’s Khalil called 'Figure II' (1987), of typically flat Pop-style figures on a peach green backdrop. The contrast of the subdued light ochre washes of Tharmaratnam’s Cheong Soo-Pieng 'Untitled' ink and wash of a stilt topography of a fishing village contrasts sharply with his other 'Untitled' work by Chia Yu-Chian, of a village of kampung stilt house with azure-blue backdrop. Both works were done in 1959. While Soo-Pieng taught at the Nanyang Academy of Fine Art in Singapore in 1947-61, Yu-Chian didn’t study there but was privately tutored by Soo-Pieng and Chen Wen-Hsi.

Hasmy’s other notable collections are Syed Thajudeen Shaik Abu Talib 'Waiting For The Lover', (1984), a small Eng Tay bronze sculpture and a Choon Ghee (Masjid Majubul, Jelutong), while Abdul Majid has several works by Awang Damit Ahmad. Of the younger crop of artists, those worth mentioning are Lui Cheng Thak (Noor Farida’s collection), Kelvin Chap and Juhari Muhammad Said (Melanie Leong), Then, there is also Chong Siew Ying’s subtle dig at urban migration with the makcik on the right looking pensively over the padifield, a forlorn bicycle in the centre, a ghostly apparition of a girl nearby, and a symbolic ripening banana tree on the left. It is owned by Razali.

Of the two Yusof Ghani 'Siri Tari', the Ahmad Kamil-owned 1989 version with five frolicking figures, has the edge over the Ali Rustam-owned 1981 work with more geometric forms and with red-and-blue patterns. Ali Rustam acquired his in 1986, after Yusof had completed his Masters at the Catholic University in Washington.

A conspicuous absentee from the array of former ambassadors’ list is Datuk Seri P.G. Lim, who is among a small crop of pioneer art collectors in the 1960’s and who is known to have sold off a large part of her collection.

Ahmad Khalid Yusof’s 'Dari Mana Datangnya Sayang' (1996), of his frittered khat calligraphy in red, was done a before his death at the age of 63. It belongs to Abdul Halim. Amron Omar’s 'Pertarungan' from his series of the same name is about agility with the blurry lines simulating movement and symbolic of life’s struggles. This one, owned by Abdul Halim, is only a pastel on masonite board. Razali also boasts of two 1996 ‘Siri Topeng’ works by Yusof Ghani, while Ahmad Fuzi’s Raphael Scott Ahbeng’s 'Light Show From the East' (2005, oil on canvas) represents one of the 72-year-old Sarawakian’s finer landscape efforts.

The exhibition catalogue is available at the National Art Gallery.

This 'Collector’s Series' was started by the National Art Gallery in the 1970’s with the exhibitions of Dato Loke Wan Tho’s photography collection in 1970 and 1976, and Lee Kar Yeow’s (own paintings and collection of top-notched Chinese art) in 1975. It was revived in 2007 with the exhibition of the Rahime Harun Collection, and Tai Keik Hock’s 'Mosaic of Malaysia' in 2009. The 'Malaysian Art Friends' exhibition in 2010 was a spin-off from the book involving Malaysian and Singaporean collectors. Of the ambassadors, Razali reached the pinnacle of his career as president of the United Nations General Assembly (1996-97); Ahmad Kamil, Ahmad Fuzi and Abdul Halim were also the Foreign Ministry’s secretarygeneral; Abdul Halim also the Chief Secretary to the Government (1996-2001); while Hasmy is the Suhakam chairman and Abdul Majid, the president of the Malaysia-China Friendship Association. The exhibition was officiated by Deputy Minister of Information, Communications and Culture Senator Datuk Maglin Dennis D’ Cruz on March 30. It ended on April 24.


Kesan

pembangunan ekonomi dan kebudayaan di seluruh dunia meningkatkan taraf hidup sosial sesuatu masyarakat. Wujud pelbagai kesan dan impak terhadap persekitaran bila pembangunan ekonomi di selaraskan ke taraf negara maju. Laungan kempen “Recycle” atau kitar semula telah lama dipraktiskan di negara maju dan negara yang sedang membangun termasuk Malaysia. Sebagai tidak membazirkan lebihan sampah yang masih boleh di guna pakai atau di kitar semula, pertumbuhan pesat industri kecil yang mengusahakan produk kitar semula atau perusahaan kitar semula sebagai membantu usaha kerajaan.

OBJEK JUMPAAN Sulaiman Esa bersama karya “ Man and His World” 1972 - 1973

di rencahkan dengan resepi Malaysia bersama kolaj kain batik, surat khabar, kuali dan sebagainya bersama irama sapuan berus ekspresi serta memberi kepelbagaian kesimbangan di antara gestur, jalinan, bentuk dan warna. Mencetuskan seniman yang muncul dengan ekperimentasi yang ekstrim bersama naluri pasca modenis. RFTO 'Recycle Toy & Found Object' Belleville (2010) Suhaimi masih mengekalkan objek jumpaan sebagai subjek dan bahan. Karya RFTO lebih 'Pop' dengan assemblaj yang lebih spontan berbeza dari 'Siri Objek' (Arcipainting). RFTO ini merupakan pertembungan di antara karya – karya 'Siri Survivor' dan 'Siri Object'. Kepelbagaian objek jumpaan seperti permainan patung seperti Sponge Bob Square Pants, Patrick, Doraemon, Garfied yang mempunyai ciri kelembutan sebagai teman tidur bagi kanak – kanak dengan anyaman bubu ikan daripada rod besi dan objek jumpaan seperti rim basikal,rim motosikal, kereta sorong, wiremesh, lampu belajar, kayu dan besi yang bersifat lebih keras mewujudkan pertembungan kepelbagaian bahan yang memerlukan cabaran untuk

Seniman seni visual juga tidak terlepas dalam membantu menghasilkan produk atau pun karya seni daripada sampah sarap ini. Objek jumpaan (found object) merupakan bahan mentah hasil pembuangan sampah sarap bukan domestik yang digunapakai oleh penggamal seni samaada di Malaysia dan luar Negara. Objek jumpaan (Found Object) telah digunakan oleh seniman sejak abad ke- 20. Sebagai konsekuensi dari pemikiran inovatif oleh Kurt Schwitters, Pablo Picasso, Marcel Duchamp, Robert Rauschenberg dan lain-lain. Konsep objek jumpaan menjadi saksi sejarah seni visual yang menjadi satu media perdana di Eropah dan Amerika sebagai ekspresi artistik. Objek jumpaan ini juga turut menarik seniman kontemporari seperti Carl Andre, Tony Cragg, Bill Woodrow, Sarah Lucas, Michael Landy,Vik Muniz, Damiens Hirst, Tracey Emin (sekadar menyebut beberapa nama sahaja) menghasilkan karya. Selain Marcel Duchamp dengan karya agungnya "Fountain” (1917) sebuah objek jumpaan atau “ready made”(ceramic urinal) yang memberi pengertian baru oleh seniman Dadaism ini. Robert Rauschenberg juga seorang seniman perintis bergaya baru awal tahun 50an. Istilah seni “ Combines” dengan cantuman pelbagai pendekatan teknik seperti catan, lukisan, cetakan, foto, video, bunyi, kolaj dan assemblaj di kombinasikan dengan sempurna menjadi hasil karya yang meliputi makna-makna kehidupan bagi pelukis. Seniman di Malaysia juga terkesan menggunakan objek jumpaan seawal 1960an. Jika di lihat perkembangan seni lukis di Malaysia, telah melahirkan ramai di antara penggamal seni visual yang terdorong untuk menggunakan objek jumpaan ini sebagai sebahagian daripada karya. Berkemungkinan ianya juga, adalah didikan daripada instituisi pendidikan seni yang memberi ruang kebebasan berkarya dalam memilih bahan sebagai karya akhir. Subjek bahan campuran yang tidak konvensional memberikan mereka berekplorasi bersama bahan baru atau objek jumpaan. Penerokaan bahan baru di dalam karya mahupun Redza Piyadasa dan Sulaiman Esa, penerimaan yang baik Sangkar Burung- Bird-Cage di dalam pertandingan seni seperti Bakat (after release of bird at 2.46 p.m, Muda Sezaman, Philip on Monday 10th June )1974, Morris, Salon Malaysia Campuran, 50 x 40 x 40cm, BSLN ataupun pertandingan 1974.015 di peringkat negeri. Karya seni yang menggunakan bahan campuran ini mula mendapat tempat di kalangan penggamal seni visual sebagai metode baru.

bunga, dua botol Coca-Cola, baju hujan, rambut manusia, sangkar burung, kerusi, tin cat dan palet, kanvas kosong, bekas dan abu ubat nyamuk. Pertandingan seni visual juga sebagai satu peluang bagi seniman bereksperimatasi dan mencari peluang untuk menghasilkan karya menggunakan objek jumpaan. Pertandingan dan Pameran 'Manusia dan Alamnya' (1973) yang di anjurkan oleh Balai Seni Lukis Negara (BSLN) telah menyaksikan seniman menggunakan objek jumpaan sebagai subjek dan bahan. Karya "Man and His World” oleh Sulaiman Esa dan karya “Statement 1 “oleh Nirmala Shamughalingam telah berjaya memenangi beberapa hadiah utama dan hadiah kecil. Karya Sulaiman Esa “ Man and His World” 1972-73 merupakan karya konseptual yang mencipta sejarahnya sendiri. Persoalan tentang siapa Sulaiman mampu di ungkap daripada dapatan memahami setiap bahan sisa buangan urban (found object) seperti tiket bas, surat, nota, buku, sijil akademik, sijil kelahiran, passport, foto, sejadah, baju,tali leher dan kasut yang dihimpunkan menjadi sebuah karya ‘self portrait’ yang bukan konvensional. Setiap bahan memberi pelbagai makna dalam kehidupan Sulaiman yang mengheret masyarakat memahami konflik identiti dan spiritual. Setiap objek ini boleh diperluaskan makna nya oleh penyelidik melalui kajian akedemik jika dilihat dari pelbagai perspektif. Nirmala Shanmughalingam pula membina sebuah karya bersifat konseptual dimana merekod dan mendokumentasikan pencemaran alam sekitar dengan lensa kemera dan keratan surat khabar yang memaparkan kesan dan lokasi pencemaran. Sampah telah menjadi subjek didalam menyampaikan komentar sosial melalui seni visual. Selain mereka, Suhaimi Fadzir, Ahmad Shukri Mohamed, Noor Azizan Rahman Paiman, Raja Shahriman, Susyilawati Sulaiman, Vong Nyam Chee (sekadar menyebut beberapa nama) dan ramai lagi. Suhaimi Fadzir dilihat sangat konsisten dengan eksperimentasi objek jumpaan sejak tahun 1980an lagi. Suhaimi konsisten menggunakan media campuran bersama assemblaj objek – objek jumpaan ini. Penggunaan objek jumpaan daripada sisa industri, konstruksi bangunan seperti cermin, zink, besi, wiremesh, pakaian, perspek dan kayu

Noor Azizan Rahman Paiman, To Whom This City Belong Too, 2000 – 2003,Campuran, Instalasi, BSLN2009.019

Nirmala Shanmughalingam, Statement 1, 1973, Campuran, 73 x 91 x 124 cm, BSLN 1974.020

Antara seniman Malaysia yang begitu lantang melaungkan konsep objek sebagai karya seni adalah Allahyarham Redza Piyadasa dan Sulaiman Esa dengan keberanian manifesto 'Towards a Mystical Reality' (1974). Duo ini telah memberi impak besar dalam perkembangan seni lukis moden Malaysia sehingga mencetuskan perdebatan sezaman. Objek jumpaan seperti pasu

Suhaimi Fadzir, Bukan Senang

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Nak Senang, Bukan Susah Nak Susah, 2008, Campuran, 198 x 298, BSLN2008.011


DALAM | BAKTIAR NAIM

SENI

VISUAL menghasilkan sesebuah karya. Pameran 'Antara Bahan Campuran' (ABC) yang masih berlangsung di BSLN, juga mempamerkan beberapa karya koleksi tetap Negara yang menggunakan objek jumpaan sebagai karya dan tindak balas diantara seniman dengan alam sosiologi. Objek jumpaan merupakan sisa ketamadunan yang perlu dijana dengan baik bagi membantu dunia dalam mengekalkan keharmonian. Para seniman sedikit sebanyak telah mempraktikkan kepenggunaan sumber terbuang ini dengan penghasilan karya – karya seni visual.

Susyilawati Sulaiman, Kedai Ubat Jenun, 1997, Campuran, Instalasi, BSLN2001.004

Rujukan : (1)Katalog ROCI 1990 Teks temuramah Suhaimi Fadzir di Facebook Katalog Piyadasa An Overview, 1962 – 2000 Katalog Suhaimi Fadzir Archipainting Object 1984 – 2008 Katalog Suhaimi Fadzir RFTO 2010, Foto Ihsan Sulaiman Esa Semua karya adalah Koleksi BSLN


Apabila

saya dijemput untuk menyertai pameran 'Tanah Ayer: Malaysian Stories from the Land' awal tahun ini yang dikelolakan oleh Valentine Willie Fine Art (VWFA) bertempat di Selasar Sunaryo Art Space (SSAS), Bandung, Indonesia, dari 29 April hingga 22 Mei 2011, tergerak hati saya untuk berkunjung ke situ. Dua sebab yang utama, pertama, Indonesia senantiasa mengingatkan saya pada buku “Modern Indonesia Art� (1990) yang pernah dibaca dan ditelaah ketika persekolahan menengah lagi. Indonesia menjadi satu destinasi dalam imaginasi peta seni saya. Kedua, karya saya yang berjudul “Study of Malaysia Modern Visual Arts in Landscape�,(2006- berterusan), dipilih untuk pameran berkumpulan kali ini. Hasrat untuk melihat karya seni instalasi ini dalam keadaan yang siap pasang dan mendapat maklum balas secara langsung dari penonton menjadi satu perkara yang perlu dilaksanakan dalam kemampuan saya. Walaupun karya ini pernah dipamerkan dua kali di luar negara, namun kali ini saya dapat melihatnya di lokasi pameran. Saya cukup gembira dengan ruang yang diberikan. Karya disusun secara selari dalam bilik tiga dinding.

| TAN NAN SEE

Kembali dari

Tanah A

Malaysian Stories from the Land

Pameran ini mempamerkan karya 15 orang seniman di ruang B dan ruang sayap SSAS. Kurator memilih karya yang terdiri dari pelbagai jenis bahantara, yakni, lukisan, catan, arca, fotograf, seni video, seni instalasi dan seni elektronik. Malah pada malam pembukaan pameran, penonton terhibur dengan persembahan grafik bergerak dan aksi persembahan langsung oleh Flica + Fairuz. Pada malam pembukaan pameran, ruang legar Kopi Selasar dibanjiri oleh penonton yang beratur menandatangani buku tetamu dan mengambil katalog. Hampir 200 orang penonton hadir pada malam Jumaat di atas Jalan Bukit

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Ayer :

Pakar Timur itu sangat memberangsangkan semangat pihak organisasi. Pak Sunaryo memberitahu saya bahawa kebanyakan penonton terdiri dari seniman dan pencinta seni. Pada keesokan hari, bicara seni diadakan di Bale Handap SSAS. Kurator Eva McGovern bermula bicara mengenai konsep kuratorial dan pengalaman beliau mengendalikan pameran ini. Seniman yang turut hadir ialah Kow Leong Kiang, Vincent Leong, Fairuz Sulaiman, Euseng Seto dan saya. Seorang kurator dari Bandung mengemukan soalan kepada seniman tentang persoalan tradisi dan pencarian identiti dalam karya mereka. Bicara seni pada tengah hari itu berkisar pada perkembangan seni tampak Malaysia dan seniman berkongsi pengalaman masing-masing mengenai proses pengkaryaan mereka. Selain menghadiri pameran dan bicara seni, saya berkesempatan mengunjungi rumah A D. Pirous, seorang tokoh seni yang disanjungi di Bandung bersama Valentine Willie, Ahmad Zakii Anwar dan Kow Leong Kiang. Studio Pak Pirous terbentang luas seperti galeri seni yang tergantung catan di setiap penjuru studio. Bicara Pak Pirous mengingatkan saya bahawa sokongan akademik dan ilmu pengetahuan adalah penting dalam bicara hasil karya seni. Beliau menunjukkan buku-buku tulisan beliau dan cetakan buku seni yang lain. Saya ternampak buku “Menulis itu Melukis�, tulisan beliau yang pernah saya beli satu ketika dahulu. Saya tertarik dengan idea beliau yang mengaitkan hidup seorang seniman Muslim dan seni Islam yang dipraktikkannya. Beliau turut menunjukkan sebuah buku yang lengkap mendokumenkan fikiran beliau tentang isu itu, hasil tulisan seorang penulis Inggeris, pada saya. Kami kagum dengan cerita Pak Pirous tentang seniman Malaysia kenalan beliau yang penuh dengan butiran. Ingatan beliau masih segar pada usia 80 tahun. Kami juga berkesempatan melawat Galeri Soemardja di Institut Teknologi Bandung yang terkenal itu. Seniman M. Irfan sedang berpameran di situ. Kami turut berjumpa dengan Irfan dan kurator galeri. Sebelum berangkat, Pak Sunaryo menjemput pasukan VWFA dan seniman makan tengah hari di studio beliau. Meja dihidangkan dengan masakan Indonesia yang enak. Pak Sunaryo dengan murah hati berkongsi cerita pembinaan studio beliau dan saya sempat bertanyakan gaya karya Pak Sunaryo. Akhir kata, perjalanan kali ini memberi inspirasi kepada saya dengan melihat pilihan dan kejayaan Pak Sunaryo yang membuat sumbangan besar kepada komuniti seni tempatan dan menyokong perkembangan seni kontemporari Indonesia sejak tahun 1994 lagi, cukup mengingatkan sesiapa sahaja yang memahami niat baik penubuhan SSAS itu.


Selepas

dua kali mengadakan pameran solonya di Cheras Hall (1987) dan Istana Hotel (1998), pelukis Abd. Rani Abd. Majid semakin berani untuk melangkah keluar sempadan tanah air. Sebagai seorang pelukis self-trained artist, dia tidak pernah menerima pendidikan seni lukis secara formal dari mana-mana institusi seni lukis dunia, mahu pun tanah air. Hanya selepas bergelar pelukis dan menjelajah dunia dengan membuat pameran, dia mengikut kursus stensil print dan wood print selama dua bulan di Mauritius. Abd. Rani hari ini, bukan lagi sebuah nama kecil dalam dunia seni lukis antarabangsa. Pemilihan karyanya �Itik Pulang Petang� yang dipamerkan untuk Salon 2010 de la National des Beaux-Arts pada 16 hingga 19 Disember 2010 yang lalu di Carrousel du Louvre, Salle le Notre, 99, ruc de Rivoli, 75001 Paris telah mencatatkan namanya dalam peta seni lukis dunia. Pameran yang dinaungi oleh Presiden Perancis, Nicolas Sarkozy itu telah mengundangi pelukis-pelukis terpilih dunia. Dan A. Rani satu-satunya pelukis yang mewakili negara Malaysia ke pameran tersebut.

| RAHIMIDIN ZAHARI

Ekoran pameran itu, A. Rani telah menerima banyak undangan untuk mengadakan pameran di sana, antaranya dari Montmarte yang menawarkan pameran selama enam bulan bermula bulan Jun 2011. Abd. Rani dilahirkan di Raub, Pahang pada 20 mac 1959. Namun sering berpindah kerana mengikut orang tuanya yang bertugas sebagai anggota polis. Beliau mengikut ayahnya ke Kelantan dan memulakan pendidikan rendahnya di sana. Ketika masih di sekolah rendah, berpindah pula ke Kuala Lumpur dan menetap sehingga hari ini.

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Beliau mulai melukis secara serius sejak tahun 1981. Dia mulai melukis dan terus melukis selama empat tahun. Selepas lebih 50 buah karyanya telah terhasil, dia kembali perlahan untuk lebih meneliti dan memerhati. Apabila beliau memasuki dunia seni lukis, dia meneruskan kecintaan tanpa berpaling lagi ke belakang.

Pelukis Yang Membawa Nama ke Persada Dunia

Abd. Rani pelukis yang amat mencintai tradisi bangsanya. Pengalaman masa kecilnya di Kelantan amat kuat melekat di dalam ingatan dan fikirannya. Sebab itulah wayang kulit, wau bulan, congkak, kukur kelapa, anyaman tradisi dan pelbagai bentuk kesenian itu mudah dikesan di dalam sejumlah karya seni lukis beliau. Imej-imej dan objek tersebut disusun dengan bergitu indah yang memberikan nilai estetika yang tersendiri kepada pencinta seni lukis. Dalam sejarah seni lukis Malaysia, subjek wayang kulit sering ditemui di dalam sejumlah karya pelukis Nik Zainal Abidin, dan Yusoff Haji Abdullah. Nik Zainal terkenal dengan siri rakaman wayang kulit Kelantan dari luar panggung dan kelir, manakala Yusoff Haji Abdullah pula pelukis yang gemar merakam aktiviti pendalangan wayang kulit dari dalam panggung itu sendiri. Abd. Rani adalah salah seorang penerus kepada tradisi yang telah dimulakan oleh Nik Zainal Abidin dan Yusoff Haji Abdullah tersebut. Bahkan beliau amat menyanjungi dan menghormati hasil karya kedua-dua pelukis ternama tanah air tersebut. Beliau mengakui, dirinya hampir tidak dikenali di tanah airnya sendiri sebagai pelukis. Tetapi di Reunion Island dan Mauritius, Perancis, A. Rani


satu-satunya pelukis Malaysia yang disanjung tinggi di sana. Beliau merakamkan terima kasih yang tinggi kepada teman pelukisnya, Charly Lesquelin dari Reunion Island yang membawa dan memperkenalkan beliau di sana. Dengan cadangan dan sokongan kuat Charly Lesquelin, seorang artis terkenal Perancis, beliau berhasil membawa imej dan wajah Malaysia ke sana. Pameran solo pertamanya di luar negara telah berlangsung di Municipal Art Gallery – Malcolm de Ghazal, Gurepipe Mauritius dari 26 Oktober hingga 2 November 2007. Dalam pameran tersebut, beliau tetap dengan tradisi Wayang Kulit yang amat dicintainya. Beliau telah melukis puluhan karya yang bertemakan warisan budaya yang mengambil imej dan motif dalam tradisi Wayang Kulit. Bahkan siri inilah yang paling laku apabila beliau membuat pameran di luar negara. Kolektor di Mauritius mahupun di Reunion Island amat meminati dan menyanjung karya yang menggambarkan motif budaya tradisi ini. Manakala pameran solonya yang kedua berlangsung di Kepulaun Reunian tajaan Reunian Arts Envol dan Kementerian Kebudayaan Perancis, dengan judul �A. Rani la Malaisie se devoile...� di Mediatheque de Saint-Pierre pada 3 hingga 28 Ogos 2010, beliau dibiayai sepenuhnya dengan tiket penerbangan dan penginapan sepanjang berada di sana. Di samping itu beliau disediakan ruang untuk membuat bengkel dan mengajar teknik seni lukisnya kepada para peserta di sana. Ketika pameran itulah kurator dari Carrousel De Louvre telah berminat dan memilih karyanya untuk pameran Salon 2010. Dia masih kekal dengan siri wayang kulitnya, tetapi kalinya bentuknya mula disamarkan dengan memberikan imej yang lain. Siri 'Itik Pulang Petang' umpamanya merupakan pemiuhan bentukbentuk dan imej wayang yang telah disebati dengan ciri-ciri budaya dan kehidupan Melayu yang sangat menebal. Imej-imej itu diapungkan, seolah-olah burung yang berterbangan dan bertimbal balik dengan imej wayang. Kalau ingin mencari subjek wayang, ia tidak dizahirkan secara nyata, tetapi cara dan teknik A. Rani menyelit dan menyembunyikan imej-imej tersebut dalam fantasia yang direkanya, menjadikan ia indah dan meninggalkan kesan estetika. Di situlah terserlahnya kecintaannya yang mendalam terhadap seni warisan bangsanya. Di dalam sejumlah karyanya yang dihasilkan, amat jelas mesej Abd. Rani. Jelas pada kita, bagi pelukis ini, nilai tradisi dan kehidupan masa kini harus seiring. Kesenian tradisi tidak harus pupus dan hilang di mata dan hati generasi muda hari. Kecintaan dan kelestarian kepada kesenian tradisi harus diteruskan. Dan dia nampaknya menunaikan tanggungjawab sosial sebagai seniman pelukis. Puluhan karya yang mengangkat persoalan dan tema sedemikian adalah bukti kesungguhan beliau untuk mempertahankan nilai tradisi.

Padang Garong, Kota Bharu, Kelantan banyak mempengaruhi karya seni lukisnya. Walaupun masa lalu itu telah melangkaui 40 tahun lebih, tetapi keindahan itu tidak terhapus. Ia kembali segar setiap kali beliau mencapai berus, dan mencalitkan warna di muka kanvas. Pameran siri karya 'Wayang Kulit'nya mendapat liputan meluas di dalam akhbar dan majalah di Mauritius dan Renion Island. Bahkan sejak beberapa tahun sebelum itu beliau beberapa kali diundang untuk membuat pameran secara berkumpulan. Setiap kali pameran, karyanya dibeli oleh kolekter. Dan ini merupakan suntikan semangat yang mengobarkan jiwanya untuk terus melukis. Ketika pamerannya bersama 16 orang pelukis lain di Reunian Island, Perancis dari 26 Julai hingga 10 Ogos 2008, A. Rani telah menerima anugerah medal khas oleh Datuk Bandar Reunion Island. Medal itu pertama kalinya dianugerahkan kepada rakyat dari negara luar. Bayangkan sewaktu pamerannya yang berlangsung, belum selesai karya dibungkus, kolektor yang lain bertanyakan harga lukisannya. Datuk Bandar berdiri di belakang melihat kolektor yang tertegun dengan hasil karya Abd. Rani. Dia amat berbangga dengan tradisi wayang kulit yang dilukisnya. Tak pernah beliau alami peristiwa seperti itu di manamana pameran pun sebelum ini. Kejayaan itu bukanlah kejayaan dirinya secara peribadi, tetapi adalah kebanggaan untuk seluruh pelukis lain dan bagi negara Malaysia. Selain itu, A. Rani telah mengadakan pameran berkumpulan di pelbagai negara dunia, antaranya di Tokyo, Jepun (2002), Hatyai, Songkhla dan Bangkok, Thailand (2002, 2006 dan 2010), Bali, Indonesia (2009), Guangzhou dan Zheijiang, China (2009). Terbaharu pameran bersamanya berlangsung di Xi Tang, China yang dibuka pada 25 April, 2011 yang melibatkan pelukis-pelukis dari Bahrain, China, India, Indonesia, Israel, Japan, Korea, Mauritius,Philippines, Reunion Island, Thailand dan Australia. Bagi Abd. Rani, dia adalah penerus kepada tradisi yang dimulakan oleh pelukis Nik Zainal Abidin dan Yusoff Haji Abdullah. Kejayaannya mempamerkan karyanya di serata dunia seperti di Reunian Island, Mauritius dan Carrousel De Louvre, Perancis adalah kejayaan juga untuk pelukis-pelukis tersebut. Kerana apa yang dilukis dan dibawanya berinspirasikan tokoh-tokoh sanjungannya sebelum ini. Para pelukis generasi muda Malaysia harus berkembang terus dan mencapai tahap yang setaraf dengan para pelukis dunia yang lain. Baginya, untuk menjadi pelukis yang berjaya, ketahanan diri perlu ada di dalam diri setiap pelukis. Tak ada kejayaan tanpa usaha yang keras dan berterusan.

Tradisi tidak harus dijatuhkan hukuman bunuh dengan mengharamkannya. Baginya tanpa tradisi, tidak akan wujud kemodenan pada hari ini. Sebagai seniman pelukis, beliau bersuara dengan cara dan gayanya. Pengalaman masa kecilnya di

sentAp! contemporary Malaysian art magazine. Available at the gallery shops of PETRONAS Gallery & the National Art Gallery, Kuala Lumpur. For more information, please email the publisher at terataknuromar@gmail.com


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FOR

renowned local artist Hoe Say Yong, painting is a passion. He has dedicated 20 years of his life to promoting art through various exhibitions. And awards were far from his mind.Hence, he was truly overwhelmed when he received the Asia Art 2011 award from the Korea Culture Art Research Institute recently. The prestigious award was recommended by past winner, Artseni Gallery founder Philip Wong. Honoured Hoe with his prestigious award. It was an acknowledgement of Hoe’s contribution to the field.

Pipal Fine Art is located on 2nd Floor, The Gardens Mall, Mid Valley City, Kuala Lumpur.

For details, call 03 2201 0892

A piece called the 'Spring Equinox'.

His works have been exhibited in Singapore, Indonesia, South Korea, Japan, Belgium, Thailand, China, Vietnam and Taiwan. Speaking on his experience, Hoe who hails from Johor Baru, said the recognition gave him the encouragement to do more. Apart from producing his own works and exhibiting them, Hoe also promotes the work of other artists. He has two established galleries to his credit, Pipal Fine Art and Artfolio. “The art industry is growing in Malaysia but you cannot survive just by painting alone. That is why I opened by own gallery in 1990 to not only sell but also promote art." “I started painting after watching my father, who used to paint signboards, so my dad was my source of inspiration. Creating an illusion “I feel privileged to have received the award, but I think there are many more pioneer artists in Malaysia who deserve it too,” he said. Hoe is currently having his solo art exhibition in Kuala Lumpur at Pipal Fine Art until May 30 and will have another one in Seoul at the International Culture Art Fair Seoul Art Centre (June 25 to 30). His collection for the solo exhibition was inspired by the Chinese 24 seasons. Using his signature reflection form, the artist illustrates what he feels about each season. Myriad colours have been used to convey his emotions. “There is an image in each piece, however, the ripple in the water blurs it. That’s my trademark,” he said. “Water is constantly changing its form, which is why I like it. “The reflection on the water gives the image a new perspective, thus driving your imagination to come up with the rest,” he said, adding the water theme gave his work a sense of calmness. Hoe said every painting is a journey to the next one, it gives a sense of timeline of his past, present and future.

24 June - 20 July 2011

“When I look back at my works, I know where I have been and what I have done, so when the time comes for the next series, I know what to look for,” he said.


Dalam mengharungi arus pendidikan dalam zaman moden ini pelbagai cabaran dihadapi oleh para guru atau pendidik. Perkembangan teknologi dan kemampuan memilikinya memberi lebih banyak cabaran kepada golongan ini. Ditambah dengan beban kerja yang makin bertambah para guru seharusnya mencari sesuatu untuk menarik minat pelajar ke atas apa yang diajar. Terkadang pengetahuan murid melebihi guru kerana konsep dunia tanpa sempadan yang dibawa oleh perkembangan teknologi internet. Pameran Kingdom of Rebel #2 – Mash Cultura (KOR#2) yang diadakan di Balai Seni Lukis Negara pada 18 Mac hingga 18 April telah memberi satu cadangan idea bagaimana seni dapat membantu menarik minat terhadap pelajaran sains melalui cara persembahan seni. KOR#2- Mash Cultura adalah satu projek kerjasama antara Balai Seni Lukis Negara (Majidi Amir) dan Irene Agrivina Widyaningrum (Ira) - House of The Natural Fiber, Yogjakarta, Indonesia. Ia melibatkan kajian berdasarkan golongan belia (youth), lanjutan dan pendidikan teknologi dengan cara pertukaran kerjasama antara seniman, pemuzik, saintis, teori dan komuniti antarabangsa; professional industri kreatif, dan promosi budaya kereatif belia urban. Ia adalah kajian lanjutan tentang gerakan belia, teknologi dan reaksi dari sosial dan awam. Beberapa bentuk pembentangan (forum) termasuk pengenalan kepada bentuk persembahan seni bunyi, telah dipersembahkan oleh peserta-peserta terpilih antaranya HONF (Indonesia), SGE, Goh Lee Kwang, dan SoSound (Malaysia), Wesley (Tutok, Filipina), Jennifer (Post Museum, Singapura), Barry Whitaker dan Kenneth Fenstein dari USA serta Anne Marie dari Mexico. Mereka membentangkan kertas kerja pengenalan terhadap karier, projek,genre dan peralatan yang mereka gunakan. Selain daripada itu terdapat program bengkel yang telah dikendalikan oleh House Of The Natural Fiber (HONF) dan Eriko dari Jepun. Karya Lime Volta Orchestra yang dihasilkan oleh House of Natural Fiber (HONF) Collective ID mempersembahkan bagaimana buah lemon merupakan satu mekanisme yang boleh mengalirkan tenaga elektrik. Arus elektrik yang dialirkan melalui kabel dan dimasukkan (dibenamkan) ke dalam buah lemon disambungkan ke amplifier dan seterusnya mengeluarkan bunyi melalui pembesar suara. Setiap sambungan itu dihubungkan dengan kepingan aluminium yang boleh disentuh oleh penghayat dan setiap sentuhan akan menjadikan badan manusia sebagai pengalir arus elektrik yang pelbagai bergantung kepada kuatnya aliran tersebut sebelum menghasilkan bunyi (noise) yang juga berbeza. Sentuhan pada beberapa kepingan besi pada masa yang sama akan menghasilkan tona bunyi yang berbeza dan

jika diatur (digilirkan) secara betul akan menjadi seolah satu persembahan orkestra. Teknik persembahan begini boleh digunakan untuk menarik minat pelajar kepada matapelajaran sains selain daripada teknik biasa yang hanya menggunakan teori semata-mata. Pendidik hendaklah kreatif mencari cara dan bentuk bagaimana seseuatu ilmu tersebut boleh disampaikan kepada pelajar dengan cara yang lebih menyeronokkan dan berkesan. Manakala karya yang juga daripada HONF Super Green Vol. 01 pula menggunakan gel, benih dan tindak balas bakteria untuk menyemai sejenis tumbuhan dalam kategori palma yang akan tumbuh lebih cepat daripada kadar biasa bila ditanam dalam keadaan alam semulajadi. Karya ini dipersembahkan dengan cara memakai pakaian dan aksesori hiasan yang mengandungi semaian tersebut dan setiap hari penghayat boleh melihat perubahan pada tahap pertumbuhan benih tersebut. Karya ini juga disertakan dengan produk siap yang dihasilkan daripada tumbuhan tersebut yang merupakan beg bimbit wanita dan warna pakaian yang dihasilkan.

individu-individu dan komuniti. Affordable / teknologi-teknologi Accessible dan perisian sumber terbuka bebas sebagai satu contoh, boleh digunakan sebagai satu alat yang sangat kuat untuk pernyataan kreativiti tidak terhad. Satu hasil karya yang menunjukkan bagaimana untuk mewujudkan siaran radio dalam talian yang mana boleh didatangi dari sebarang lokasi dengan satu sambungan internet dari portal penggunaan perisian bagi dan internet yang boleh digunakan dan menyediakan kemudahan bebas digunakan untuk aliran radio dalam talian. Amalan ini telah dilaksanakan oleh Deadmediafm.org, satu komuniti digabungkan dengan HONF. Deadmediafm.org ialah ialah satu ‘pesalah’ radio dalam talian dan podkas di Indonesia yang boleh diikuti melalui http / /:deadmediafm.org. Deadmediafm ini mendedahkan kepada kita yang kemajuan internet tidak hanya static digunakan untuk sesuatu tujuan seperti menghantar dan menerima email, laman social, muat turun dan muat naik tetapi boleh juga menghasilkan satu bentuk karya yang berbeza. Karya terakhir yang dipersembahkan oleh HONF pula merupakan satu bentuk eksperimen bagaimana bunyi berfrekuensi

MAJIDI AMIR Persembahan seperti ini juga boleh digunakan selain daripada hanya bercerita secara asas dan pelajar akan tertanya-tanya apakah perkara lain yang boleh dihasilkan daripada sesuatu yang dipelajari. Karya ketiga yang dibawa oleh HONF bertajuk Dead Media FM yang menggambarkan bagaimana internet mempunyai pengaruh utama pada aplikasi media dan komunikasi global. Penggunaan internet dalam memberi maklumat pada masa sekarang telah berganjak dari penggunaan isyarat elektromagnet yang digunapakai dalam radio konvensional. Bahantara audio visual bentuk digital, perpaduan perbezaan cara komunikasi global dan menghapuskan jarak bentuk fizikal. Internet boleh membenarkan penukaran fizikal ke dalam maya dan maya ke dalam fizikal. Sebagai satu bahantara global, internet telah menawarkan pelbagai peralatan aplikasi untuk audiovisual kepada

rendah yang diambil daripada NASA bertindakbaals dengan tumbuhan (kaktus). Kajian ini adalah kesinambungan kepada kajian di mana di negara-negara maju mereka menggunakan bunyi (lagu) dalam proses pertumbuhan haiwan ternakan komersial di mana daging dan tahap kesuburan haiwan ternakan meningkat bila di dalam kandang ternakan dimainkan lagu-lagu klasik ataupun juga ayat-ayat Al-Quran. Karya ini jika diamati member peluang kepada pengunjung untuk menghayati kebesaranNya dan sesungguhnya semua ciptaanNya berkaitan antara satu sama lain dan seharusnya dikaji dan diselidiki selain sebagai satu kajian untuk kehidupan manusia dan pneyelidikan semata tetapi satu bentuk yang boleh mendekatkan diri kita dan mengkagumi ciptaanNya. Turut mempamerkan karya ialah Andreas daripada bandung, Indonesia yang memaparkan teknik asas kepada penciptaan watak-watak anime yang boleh digunakan sebagai animasi, cetakan t-shirt, poster dan sebagainya. Ia lebih kepada penciptaan seseuatu jenama (branding). Kelima-lima karya yang lebih berbentuk kajian sains, teknologi dan seni media juga menampilkan satu persembahan yang menarik minat pengunjung terutama pelajar sekolah untuk berinteraksi tanpa melupakan cirri-ciri estetika persembahan sesebuah karya.


Mash Cultura-Tika Pemberontakan Itu, Sudah Mati

Manakala persembahan karya daripada Space Gambus Eksperimen pula merupakan tayangan video projek-projek lama mereka dimana gabungan bunyi (noise) planet Jupiter (cakerawala) dan instrument muzik konvensional dalam menghasilkan satu bentuk bunyi yang lain dan unik. Gabungan bunyi SGE dan pembacaan puisi oleh Seniman Negara Datuk A. Samad Said menjadi tarikan pengunjung kerana bentuk persembahan seperti ini merupakan sesuatu yang baru dan segar dalam arena seni tempatan.

"... kemajuan tradisi moden dan penerusan tanpa henti dari batas-batas inovasi sekarang sudah mati. Originaliti sudah mati; tradisi artistik Avant-garde telah mati; semua kepercayan dan visi utopia mati dan perlawanan terhadap status quo tidak mungkin kerana terlalu revolusi sekarang mati. Suka atau tidak, kita manusia terjebak dalam krisis makna yang kekal, ruangan gelap yang tidak dapat kita hindari. Apakah kita perlukan pemberontakan untuk terus hidup atau pemberontakan juga telah mati ?

Goh Lee Kwang pula menampilkan satu bentuk karya yang menggunakan arus elektrik sebagai satu asas kepada penghasilan bunyi (noise). Persembahan karya yang begitu mudah dengan meletakkan satu pembesar suara yang disambungkan kepada satu amplifier yang boleh dimainkan oleh pengunjung menarik perhatian ramai. Setiap bunyi yang dihasilkan adalah kesan daripada tindakbalas arus elektrik dalam persekitaran ruang tersebut. Arus elektrik yang digunakan pada monitor tv, komputer, projektor, lampu dan penghawa dingin akan memberi kesan kepada bunyi yang dihasilkan dalam karya beliau. Satu bentuk ilmu yang boleh diketengahkan

#2 dalam pendidikan sains pelajar sekolah bagaimana persekitaran memberi kesan kepada pengaliran arus elektrik. Karya yang dipersembahkan oleh satu lagi wakil Malaysia iaitu SoSound berkonsepkan ‘sound installation’ yang mana telah menggabungkan beberapa elemen seperti cahaya, bunyi dan video art. Karya ini juga telah meminjam suasana daripada set ‘performance installation’. Ianya bermaksud set instalasi semasa mereka membuat persembahan terdahulu telah dijadikan karya di dalam pameran ini. Kesimpulannya Projek kingdom of Rebel # 2 merupakan kesinambungan projek yang bertujuan untuk mendedahkan masyarakat kepada satu bentuk seni yang berbeza dan mencari serta memikirkan sesuatu alternative bagaimana sains dan seni boleh digabungkan untuk menghasilkan sesuatu yang berguna untuk kehidupan kita yang mahu tidak mahu terpaksa menerima serangan teknologi yang mendadak dan berterusan. Diharap projek seperti ini akan dibenarkan untuk diteruskan pada masa hadapan agar kita tidak ketinggalan dalam arena seni seperti ini (Seni Media Baru).

(Terinspirasi oleh Kalle Lasn's Contemporary Society)Irene Agrivina, 2010

http://kamalsabran.blogspot.com/2011/03/kingdom-of-rebel-2.html http://jiboneus.com/2011/03/18/kingdom-of-rebel-2-mash-cultura-and-kotak-hitam-5-0/ http://www.facebook.com/houseofnaturalfiber http://nationalartgallery.blogspot.com/2011/01/coming-soon.html http://badgermalaysia.blogspot.com/2011/03/kingdom-of-rebel-2.html http://www.arterimalaysia.com/2011/03/20/kotak-hitam-5-0-in-conjunction-with-kingdom-of-rebel-2/ http://wiki.natural-fiber.com/Kingdom_Of_Rebel http://www.natural-fiber.com/index.php?option=com_content&view=article&id= 141%3Athe-kingdom-of-rebel-&catid=81%3Adebates-a-discussion&Itemid=93


Offering

access to the vibrant host city and a genuine eventrelated programme of things to see throughout the island before, during and after the fair, Art Hong Kong 2011 (also known as Hong Kong Art Fair and ArtHK11) very nearly offered an idyllic art break for regional collectors and art-watchers. The only downside was the crowd, up by almost 38% from 2010 at almost 64,000 visitors, a number comparable to Art Basel Miami Beach attendance last year. The spike in visitors, absolutely noticeable at ground level, was in no small part due to the fact that the fair is now actually associated with the Art Basel name and fame, and thus set to become the third biggest art fair in the world. MCH Swiss Exhibition (Basel) Ltd. purchased a majority stake in the owner of Art Hong Kong Asian Art Fairs Ltd. - a move announced in advance of ArtHK11 that will take official effect in July this year. With over 260 galleries from 38 countries worldwide there was obviously very strong interest to participate - probably unrelated to the Art Basel deal. The fair’s location is both comfortable for mainland Chinese collectors who are known to be both wealthy and adventurous, and an easily accessible airline hub for foreigners to pass though (and, for some, to then make their way directly afterwards to Venice for the biennale). Having turned down roughly half of the applications received, ArtHK11, held at Hong Kong Convention and Exhibition Center in Wan Chai, was still almost too big to make sense of within its short duration from 26-29 May. On the weekend days after midday the crowds made it impossible to navigate certain parts of the fair with any dignity. Downstairs important and of course highly invested galleries held court at strategically placed booths. Upstairs were Art Futures and the Asia One experiment, which showed solo displays for artists represented by Asian galleries. The total of 47 galleries covered just about everywhere that could possibly be considered Asia. While some argued against the segregation, the Asia One section was

a generous act on behalf of the organizers who, with some active galleries from Korea, Turkey and Indonesia downstairs, did not have to offer it but were aiming to retain the Asian identity of the fair. The management certainly suffered headaches from cramming a grabby, photo-obsessed crowd of mostly local visitors, who damaged works intentionally and unintentionally, into the space to see it. Access to artworks and information was sensational however, especially downstairs where a lot of the gallery staff were oblivious to the ridiculousness goings on just two floors up, and even a little bored at times. The quality, variety and availability of works was a reflection of intelligent programming on the part of fair organisers – hard work that pays off in spades when a fair gains a reputation of not wasting anyone’s time. Some collectors snapped works up fast; others took it slow and made easygoing contact at off-site exhibitions knowing they would return again soon. Particularly for those regionally-based, the art on offer is too strong and Hong Kong too convenient a location not to slot into an art buyer’s travel itinerary. Hopefully the fair management will consider far better security, extended VIP viewing hours, limited visitor numbers and even limited participating galleries (but a similar spread) in the future, although this would

| SURAYA WARDEN

mean taking a stance as either elite or egalitarian as it seems their position ‘on the fence’ could be the singular reason for the several areas of visitor discomfort. Now that there is a direct association with the Art Basel fairs, that can be used as an excuse, although as anybody who has visited a fair to buy and to work knows there is no shame whatsoever in a fair being an exclusive, semiprivate or private, event. Although many of us were there to work, and indeed were working hard, the nature of the Art HK (increasingly) leans towards being a mostly social affair. There were openings, parties, breakfasts, teas, cruises and various VIP drinking holes. The Pawn, Hong Kong’s upscale gastro-pub was the official off-site VIP lounge – the fact that the fair even had one belies the unspoken suggestion that guests should enjoy the city as well as the event itself. On site, the multi-level VIP status was a bit extreme – what is wrong with two levels – Visitor and VIP? The different roped off venues for ‘different’ people left a bitter taste in the mouth of many an excluded visitor and left the ‘included’ confused, out of pocket, and sometimes separated from their mates. Further heightening the VIP atmosphere, several famous artists were in attendance: Takashi Murakami visited his galleries with a travelling crowd, David LaChapelle with a gaggle of yes-men, Zhang Huan was directly accessible on a lecture panel at a talk hardly anybody attended and others such as Marc Quinn were able to go somewhat under the radar with word spreading the buzz even when they were nowhere to be seen. Likewise with the important international Curators, Directors, and Collectors, who swept in and swept out praising both the city and the fair along the way. The Backroom Talks were the fair’s opportunity to take an educational position. The talks, well translated and containing some interesting ideas and panel members, attracted a tiny attendance and were quite pointless – even Art Stage Singapore gave informative and entertaining talks that were more central to that fair. So it seems the art education side of things, if not monitored, is one of the first areas to suffer when an art fair grows larger than it can handle. The fair was shamelessly about sales and the fun of shopping. With a casual partnership with Christie’s Hong Kong, it was the perfect chance for buying audience members to visit the fair and the auctions not only on the same trip but in the very same building – it does not get much more convenient than that. But the auctions only just managed to ward off the chaos


21/page

of the fair and the numbers watching the sale spilled over, even in the second room, for the first twenty minutes or so. Next door inside the Grand Hyatt Sotheby’s was also selling paintings, and diamonds. When the Art Basel deal takes effect the status of Art HK will officially soar and Asian galleries will have both increased opportunity and increased pressure. Although some will complain about having to be ‘chosen’ (the truth of course being that galleries must qualify against what is now general international-level criteria), others already understand that the fair delivers collectors to their door, and that each gallery’s standards must be high in order to be active in the international markets. Competition for galleries hoping to participate in the Basel and Miami fairs is so high that both have caused smaller satellite fairs to spring up that are easier for lesser known artist and galleries to crack. This could happen in Hong Kong and take some of the pressure off everyone involved. There were good quality private gallery exhibitions all over Hong Kong, some from participating galleries whose preview brunches, opening nights, and curators’ talks the fair was able to build into an interesting but sadly overbooked VIP programme. Some galleries tapped into the pool of visiting collectors by coinciding special exhibitions with the fair dates despite not participating via an on-site booth. Edouard Malingue Gallery showed Zhang Huan and de Sarthe showed David LaChapelle, both galleries printing outstanding understated hardcover catalogues for the shows, and both are in the city permanently. The fair is a huge success and the opening of permanent space by certain galleries despite Hong Kong’s prohibitive costs is only further indication of how strategic the location is. These galleries can ride the publicity wave of the fair for the entire remainder of the year that it is not on. The only question is whether the smaller art scenes in SE Asia, and especially Malaysia, will embrace the change and rise to the challenge of meeting the market at its new meeting place, or sulk and miss the already packed boat.


PENGUMUMAN

/ ANNOUNCEMENTS

Peti Seni BSLN

Bagi tahun 2010, Peti Seni dan wakaf BSLN telah menempatkan beberapa orang pelukis seperti Amirudin Ariffin, Rafie Abdul Rahman sebagai seniman utama, Waja, Uneh, Hasnidan, Kecik, Riezalman, Hakim dari Kumpulan Rantai.Art dan Kumpulan Grafiti iaitu Bbchun and The Group. Setiap artis akan diberi tempoh 3 – 6 bulan dan pelanjutan tempoh penempatan boleh dibuat secara bertulis. Selain mengadakan demonstrasi di dalam Peti Seni, pelukis juga secara langsung dapat berinteraksi dan memberi tunjuk ajar khasnya kepada pelajar dan pengunjung yang mengunjungi Peti Seni yang terletak di hadapan kolam BSLN. Mohd Nor Ikwan Bin Omar (kecik) Airbrush Email: fine_finger@yahoo.com H/P: 017-9141349 Kontrak selama 3 bulan bermula: 15 Feb-15 Mei 2011.

Get the catalogues & int eresting merchandises at the Gallery Shop

!

Public Access

Opening hours

Star LRT : Sentul East Station to Titiwangsa Station Putra LRT : Ampang Station to KLCC Station Public Buses : RapidKL (B114) - From KLCC/Titiwangsa Station Cab: From KLCC/Titiwangsa Station

10am - 6pm daily **except for the public holidays of Hari Raya Aidilfitri (two days) and Hari Raya Aidiladha (one day) and in the month of Ramadhan 9am - 5pm

*Free admission

www.artgallery.gov.my www.facebook.com/artgallery.gov.my

Osman Akhbar (Fulltime Artist / Art Consultant) -Water color landscape and Kampung Houses. 019-3698 486 Email:osmanakbarlong@yahoo.com


23/page

SENI VISUAL DAN HAKCIPTA (II). | BED SAMAT

| Bed Samat

Seperti

yang dijanjikan pada keluaran lepas, Senikini pada keluaran kali ini akan mengupas lebih lanjut mengenai kriteria-kriteria karya yang layak mendapat perlindungan hakcipta serta mengenal pasti pemilik sah karya-karya tersebut mengikut Akta Hakcipta 1987 (CA 1987) 1. . Dua perkara ini berhubung kait kerana tempoh hayat (jangkamasa) perlindungan sesuatu karya hanya akan dapat ditentukan selepas pemilik sah karya dikenal pasti. Untuk mengenalpasti kriteria-kriteria karya yang layak mendapat perlindungan hakcipta, kita boleh merujuk kepada tiga seksyen utama yang terdapat di dalam Akta Hakcipta 1987 iaitu Seksyen 7, Seksyen 4 dan juga Seksyen 10. Seksyen 7(1) telah menyenaraikan karya-karya yang layak diberi perlindungan seperti yang telah diterangkan di dalam Seni Visual dan Hakcipta (1) pada keluaran lepas. Manakala Seksyen 7(2), Seksyen 7(2A), Seksyen 7(3)(a), Seksyen 7(3)(b) dan Seksyen 7(4) pula menerangkan secara terperinci mengenai kriteria-kriteria karya tersebut. Seksyen 7(2) menerangkan bahawa setiap karya yang dicipta, akan dilindungi tanpa mengira kualiti dan tujuan karya-karya itu dihasilkan. Maka, setiap karya selepas dicipta adalah layak mendapat perlindungan oleh CA1987. Manakala di dalam seksyen 7(2A) pula menegaskan kembali bahawa CA 1987 tidak akan melindungi apa-apa idea, prosedur, kaedah pengendalian atau konsep matematik seperti yang telah dinyatakan juga pada keluaran sebelum ini. Manakala di dalam Seksyen 7(3) pula menerangkan bahawa sesuatu karya sastera, muzik atau seni tidaklah layak mendapat hakcipta melainkan (a) usaha yang mencukupi telah dilakukan untuk menjadikan karya itu bersifat asli; dan (b) karya itu telah ditulis, direkod atau selainnya dijadikan dalam bentuk bahan yang ketara. Seperti yang dinyatakan di dalam keluaran lepas, di mana mahkamah memutuskan bahawa untuk menilai keaslian sesuatu karya mestilah terdapat usaha, kemahiran dan teknik tertentu dalam menghasilkan karya tersebut. Usaha yang dimaksudkan di dalam Seksyen 7(3)(a) adalah ‘usaha’ yang dapat dibuktikan kewujudannya seperti yang dinyatakan di dalam kes Kiwi Brands (M) Sdn. Bhd v Multiview Enterprise Sdn. Bhd [1998] 2. Tetapi harus diingatkan bahawa ‘usaha’ sahaja bukanlah boleh digunakan sewenang-wenangnya bagi membuktikan bahawa karya tersebut adalah asli. Kemahiran dan teknik tertentu juga adalah penting walaupun dilakukan secara minima. Seminima manapun kemahiran yang diletakkan bagi menghasilkan sesuatu karya, karya tersebut akan dianggap asli contonhnya di dalam kes Interlego AG v Tyco Industries & Ors Inc [1989] 3. , di mana di dalam kes ini mahkamah memutuskan walaupun karya-karya tersebut bersifat artistik, karya-karya tersebut tidak boleh diiktirafkan keasliannya kerana tiada pengubahsuaian yang

ketara secara visual jika dibandingkan dengan karya yang terdahulu. Kemahiran dan ternik yang terlibat dalam proses pengubahsuaian, penambahan atau penggantian karya baru tidak cukup untuk memberikan sentuhan asli kepada karya tersebut. Logiknya kerana sesuatu kemahiran memerlukan ilmu kepakaranan yang perlu dipelajari sebelum dipratikkan. Jadi bagi menghargai ilmu kepakaran yang dimiliki, maka usaha semata-mata dalam membuktikan bahawa keaslian sesuatu karya adalah tidak mencukupi. Manakala di dalam Seksyen 7(4) menerangkan bahawa sesuatu karya masih layak mendapat hakcipta walaupun pembuatan karya tersebut melibatkan pelanggaran hakcipta bagi karya lain. Contohnya karya yang tergolong di dalam Seksyen 7(4) ialah seperti penghasilan karya kompilasi yang menggunakan usaha, kemahiran dan teknik tertentu ataupun gabungan karyakarya lain yang diberi nafas dan sentuhan yang baru. Sekyen 4 pula memainkan peranan dalam menerangkan tentang penerbitan sesuatu karya. Penerbitan karya adalah penting dalam menentukan sama ada sesuatu karya itu layak untuk mendapat perlindungan hakcipta ataupun tidak. Dalam konteks seni visual, Seksyen 4(1)(a) menyatakan bahawa sesuatu karya seni akan disifatkan sebagai ‘telah diterbitkan’ apabila mendapat persetujuan penciptanya atau manamana pemilik sah dengan cara yang mencukupi dan munasabah, sama ada melalui jualan atau sebaliknya. Mengikut seksyen 4(3), karya-karya yang diterbitkan pertama kali di Malaysia, atau jika diterbitkan di tempat lain kemudian diterbitkan di Malaysia dalam masa 30 hari dari penerbitan pertama adalah karya yang akan dilindungi oleh CA 1987. Selepas tahun 1990, semua karya pertama kali diterbitkan di negara-negara yang terlibat di dalam Konvensyen Berne 4. juga berhak mandapat hakcipta sama seperti karya tersebut diterbitkan di Malaysia. Selagi karya tersebut pertama kalinya diterbitkan di Malaysia, perlindungan akan berikan walaupun pengkarya tidak memenuhi syarat-syarat sebagai ‘pemilik yang layak’ mendapat hakcipta. Manakala untuk karya yang tidak diterbitkan perlindungan hanya diberikan jika pengkarya adalah pencipta dan pemilik sah karya tersebut pada waktu karya tersebut dihasilkan. Seksyen 4 (2) pula menegaskan bahawa mengadakan pameran bagi sesuatu karya tidak akan dikira sebagai ‘penerbitan’. Untuk memahami seksyen 4(2), bolehlah merujuk kembali makna pernerbitan yang telah diterang di dalam seksyen 4(1) di atas. Manakala Seksyen 4(4) pula menerangkan bahawa, jika pada mulanya hanya sebahagian sahaja daripada sesuatu karya atau persembahan secara langsung diterbitkan, maka bahagian itu hendaklah disifatkan sebagai suatu karya berasingan atau persembahan secara langsung berasingan . Seterusnya adalah kriteria-kriteria yang terdapat di dalam Seksyen 10 yang menerangkan secara terperinci dalam mengenal pasti pencipta dan pemilik sah karya. Kebiasaanya pemilik sah sesebuah karya ialah mereka yang mencipta karya tersebut, contoh di dalam dunia seni visual, pemilik sah dan pencipta sesuatu karya ialah artis yang mencipta karya tersebut. Untuk situasi yang

1. 2. 3. 4.

lain terdapat juga pencipta dan pemilik sah karya ialah individu yang berasingan. Contohnya seperti karya yang telah dikomisenkan. Pemilik sah karya tersebut adalah mereka yang membiayai atau menaja karya tersebut. Pencipta sesebuah karya harus dikenal pasti atas tujuan untuk pengiraan jangkmasa hakcipta sesebuah karya dan hanya pencipta karya tersebut yang akan diberikan hak-hak moral seperti yang dinyatakan di dalam Seksyen 25. Hak-hak moral seorang pencipta adalah penting kerana walaupun beliau bukan pemilik sah karya, beliau masih boleh mengambil tindakan undang-undang ke atas sesiapa yang berkaitan jika karya tersebut dirosakkan, berlaku pengubahsuaian atau perkara-perkara yang berkaitan yang dianggap sebagai memudaratkan kehormatan atau reputasi pencipta. Untuk penerangan yang lebih terperinci, huraian tentang ‘pencipta’ sesebuah karya boleh dirujuk di bawah Seksyen 3 di dalam CA 1987. Selain daripada itu, kes-kes seperti Donoghue v Allied Newspapers [1938] Ch 106 dan Walter v Lane [1900] AC 539, juga boleh digunakan sebagai rujukan untuk memahami perincian tentang ‘pencipta’. Jangkamasa sesesuatu karya pula boleh dirujuk di bawah Seksyen 17 hingga Seksyen 23, Seksyen 26(1), Seksyen 26(2), Seksyen 26(4), Seksyen 26(5), Seksyen27 dan Seksyen 38 yang terdapat di dalam CA1987. Tetapi di dalam konteks seni visual Seksyen 17 dan Seksyen 18 lebih digunapakai. Seksyen 17 menerangkan bahawa jangkamasa sesuatu karya itu diberi perlindungan oleh CA 1987 ialah selagi seseorang pengkarya itu masih hidup dan ditambah dengan 50 tahun selepas kematian beliau. Manakala jangkamasa bagi karya usahasama pula akan dikira selagi pengkarya-pengkarya tersebut masih hidup dan ditambah dengan 50 tahun selepas pengkarya yang terkahir sekali meninggal dunia. Seksyen 17(2) pula menerangkan tentang karya-karya yang tidak diterbitkan ketika pengkarya masih hidup. Untuk karya-karya yang tidak diterbitkan tempoh masa 50 tahun akan dikira dari tarikh selepas karya tersebut diterbitkan secara rasmi kepada khalayak. Seksyen 17(3) pula menerangkan tentang karya yang tidak bernama atau anonymous. Jangkamasa perlindungan bagi karya-karya tersebut akan dikira pada awal tahun takwim berikutnya setelah tahun di mana karya itu diterbitkan buat pertama kali atau pertama kali khalayak boleh memperolehi karya tersebut atau mana-mana tarikh yang lebih terbaru di antara dua tempoh tersebut. Jika identiti penulis diketahui, maka Seksyen 17 (2) akan diguna pakai secara automatik. Manakala Seksyen 26 menerangkan perincian berkaitan keempunyaan pertama hakcipta iaitu lebih kepada karya-karya yang dikomisenkan kepada seseorang ataupun karya-karya yang dibuat dalam ‘masa bekerja’ pencipta karya. Kebiasaanya, pencipta karya tidak akan dianggap sebagai pemilik sah karya jika karya tersebut telah dikomisenkan seperti yang telah dinyatakan di atas. Untuk lebih perincian mengenai hal ini, bolehlah merujuk kepada Seksyen 26 (2), Seksyen 26 (4) dan Seksyen 26 (5). Bagi sesuatu karya yang telah diwasiatkan pula, perinciannya dinyatakan di dalam Seksyen 27 dan Seksyen 38 menerangkan tentang karya-karya yang mempunyai lesen eksklusif. Kesimpulan di sini, untuk menilai dan mengukur kelayakan jangkamasa sesuatu karya bagi mendapat perlindungan hakcipta dari CA 1987, terlebih dahulu harus mengenal pasti kriteriakriteria, pemilik sah dan pencipta karya tersebut. Bagi siri seterusnya topic yang akan dirungkai adalah berkaitan dengan hak-hak pemilik karya dan juga pengecualian terhadap karya-karya yang akan dilidungi menurut CA1987.

Copyright Act 1987 (Act 332), Regulations & Orders as at 20th May 2010 : International Law Book Services. Copyright Law in Malaysia (Second Edition by Prof Khaw Take Lee) pg 29 as decided according to Abdul Malik Ishak J. Copyright Law in Malaysia (Second Edition by Prof Khaw Take Lee) pg 31 The Berne Convention for the Protection of Literary and Artistic Works, usually known as the Berne Convention, is an international agreement governing copyright, which was first accepted in Berne, Switzerland in 1886. (Source : http://en.wikipedia.org/wiki/Berne_Convention_for_the_Protection_of_Literary_and_Artistic_Works). Copyright Law in Malaysia (Second Edition by Prof Khaw Take Lee) pg 28 as decided according to Brightman J.


| NUR HANIM KHAIRUDDIN

akademik, meskipun andai kata infrastruktur seni negara sudah dimajukan).

Pengkuratoran pameran seni di Malaysia, secara umumnya, tidak begitu berperanan besar di dalam menentukan susurgalur pensejarahan seni di sini. Aspek-aspek identiti, gaya, gerakan serta ‘politik’ seni Malaysia tidak dipengaruhi dan dicorak oleh mana-mana kurator. Sejak kemunculan awalnya pada tahun 30an sehingga kini, seni moden Malaysia kelihatan tidak berkembang mengikut pemikiran, gerak kerja serta gerak hati para kurator (yang sebenarnya tidak ramai pun). Perkembangannya yang perlahan dipacu semata-mata oleh semangat pengkaryaan artis-artis sendiri, sama ada atas pengaruh pensyarah-pensyarah di insititusiinstitusi pengajian, atau kesedaran hasil daripada pembacaan, pengalaman serta eksperimentasi mereka, mahupun kesan daripada naik-turun pasaran seni. Justeru, dalam kebanyakan keadaan kita dapat rasakan kurangnya unsur-unsur teoretikal dan konseptual dalam pengolahan karya. Dari pengamatan saya, pengkuratoran pameran (dan lebih umumnya, kritisisme seni) sama ada yang berbentuk konvensional seperti lukisan, catan

dan arca, mahupun yang beraliran kontemporari seperti filem indie, video seni dan performans, tidak diberi perhatian secukup. Proses pengkuratoran malah tidak dianggap imperatif atau mustahak demi untuk memajukan budaya visual di Malaysia. Dari pengamatan saya, sesudah lebih sedekad terlibat dengan budaya visual di Malaysia khususnya dalam lapangan seni halus, kritisisme akademik dan pengkuratoran seni merupakan dua aspek kelemahan yang melembabkan kemajuan seni kontemporari Malaysia. Berhubung dengan kritisisme akademik, adalah sangat menyedihkan bilamana bilangan pengkritik seni di Malaysia teramat kecil walaupun latarbelakang pendidikan kebanyakan artis dan sejarawan seni sekarang sudah cukup mantap; sebahagian dari mereka malah berkelulusan dari universiti-universiti terkenal di luar negara. Sungguhpun persada seni kontemporari dunia, termasuk di negara-negara jiran Asia, kelihatan meluncur maju, namun di Malaysia ia masih jauh ketinggalan. Memang ada beberapa usaha dijalankan untuk mengangkat seni Malaysia ke aras yang setanding dengan seni di lainlain negara, atau sekurang-kurangnya senada dengan sensibiliti kreatif dan rentak pascamoden di peringkat global. Bagaimanapun, tindakantindakan yang amat sedikit itu tidak memberi kesan apa-apa kepada keseluruhan situasi kancah seni di Malaysia. Saya yakin salah satu cara memperbaiki keadaan tersebut adalah dengan mengambilkira kepentingan pengkuratoran pameran (selain daripada kritisisme

Sama ada dalam pameran-pameran berkumpulan anjuran institusi-institusi seni mahupun pameran-pameran tunggal artis muda atau artis senior, saya lihat tugas utama pihak kurator sering terbatas kepada menyusun karya-karya di dinding atau mengatur karya-karya dalam ruang pameran. Pihak kurator nampaknya tidak mempunyai kuasa penuh untuk menentukan keseluruhan ‘bentuk’ serta ‘isi’ pameran, apatah lagi kerangka konseptualnya. Secara ringkas, peranan kurator sesungguhnya amat marginal. Dan dalam beberapa kes, ia teramat remeh sehinggakan sebenarnya tidak perlu pun dilantik kurator: mungkin artis dan pemilik galeri sendiri boleh melaksanakan kerja-kerja sedemikian. Oleh itu, karya-karya seni yang dipamerkan tidak memaparkan sebarang refleksiviti bermakna, sama ada dari sudut budaya, sosial, politikal, intelektual mahupun estetik berdasarkan wacana-wacana kontemporari di luar sana. Karya-karya (biasanya hasil kerja artis-artis terpilih) dipertontonkan sebagai objek-objek ‘tanpa roh’ untuk tujuan nikmat visual dan perseptual semata, atau sebagai petanda-petanda ‘simbolik’ kepada minat peribadi serta tahap ilmu kurator, atau seringkalinya sebagai langkah yang boleh mendatangkan laba komersial. Karya-karya itu bukan objek-objek ‘hidup’ untuk tujuan merenung dan memikirkan konteks-konteks sekeliling yang lebih penting, bukan objek-objek buat mentafsir dan menghurai arus kesedaran dalam masyarakat secara amnya, dan sekali-kali bukan objek-objek yang kena-mengena dengan jalur perbincangan semasa mengenai estetik dan budaya visual secara keseluruhan. Sebagai seorang kurator bebas yang pada asasnya tidak terikat dengan mana-mana institusi ‘berautoriti’, saya lihat amalan kuratorial masa kini seolah-olah berada di takuk yang kurang memberangsangkan. Pengkuratoran pameran di Malaysia lazimnya masih beroperasi menurut tanggapan bahawa kurator - mungkin secara umumnya bersangkutan dengan kurator bebas – merupakan juzuk-juzuk yang enteng, yang tidak mustahak. Kurator diundang sama ada sebagai penulis (jemputan) katalog pameran yang meneroka konsepsi tema dan abstraksi estetik secara dangkal tanpa mengupas sedalamdalamnya perkaitan-perkaitan struktur dan konsep; atau selaku perancang susunatur ruang pameran yang merencana ‘aliran’ pameran serta menghidang kesan-kesan visual sekadar demi mengetengahkan bahasa kosmetik seni; atau dalam situasi paling buruk, mereka dijemput sebagai ‘bintang’, ‘pakar’, atau ‘dewa’ untuk membuktikan serta memperakui kepentingan dan kehebatan karya-karya yang dipamerkan. Ekoran daripada keterbatasan fungsi mereka seperti dinyatakan tadi, pihak kurator tidak dapat melaksanakan tugas dan tanggungjawab dengan penuh autoriti bagi mendepani dan justeru menumpaskan politik budaya visual. Kebelakangan ini generasi baru kurator tempatan, misalnya Adeline Ooi, Wong Hoy Cheong, Hasnul Jamal Saidon dan Yee I-Lann (bidang seni halus), Amir Muhammad dan Bernard Chauly (filem), serta kurator-kurator tak dikenali dalam lingkungan ruang alternatif, cuba merubah kaedah-kaedah konvensional pengkuratoran pameran di Malaysia: yakni mengkurasi pameran dan acara secara yang melangkaui pertimbanganpertimbangan estetik serta formalistik, menghidangkan karya-karya seni yang bukan cuma berupa ‘artifak-artifak

muzium’ dengan nilai sejarah yang cetek atau ‘hasil kerja kreatif’ dengan makna yang dangkal perspektif, tetapi mengisi pameran dengan pembacaan analitikal serta pentafsiran kritikal khususnya melalui kenyataan-kenyataan kurator yang dimuatkan di dalam katalog pameran ataupun diedarkan kepada pengkritik seni dan wartawan. Budaya visual kontemporari yang bersifat pelbagai harus disebarluaskan bukan hanya sebagai wahana halwa mata dan eskapisme demi memenuhi keseronokan, tetapi sebagai sebuah sistem holistik dan menyeluruh yang menyelidik perkaraperkara berkaitan prinsipprinsip sosial, sejarah, budaya, politik (termasuk teologi). Justeru, kurator golongan ‘muda’ bertekad mengangkat kaedah kuratorial yang di luar paradigma biasa pengkuratoran pameran yang meletakkan unsur ‘keindahan’ di pundak tertinggi. Terutama sekali sejak dekad 90an, sesebuah pameran seni yang ‘serius’ tidak menghidangkan nilai artistik semata-mata tetapi turut merangkum pelbagai prinsip serta idea, malah sebahagian besarnya sampai melanggar ‘pantang larang’ sosial (meskipun kebanyakan pameran sebegini tidak akan dilayan oleh institusi-institusi negara seperti Balai Seni Lukis Negara: kecuali Pameran Retrospektif Hoy Cheong pada 2004). Contohnya APA (dikurasi Hoy Cheong, 1999) yang mempamerkan karya-karya yang mengulas tragedi politik 1998, dan paling terkini ‘147 Years Independence’ yang memaparkan karyakarya satira fotografi dan teks ciptaan Nadiah Bhamadaj dan Tian Chua (aktivis politik hakhak kaum pekerja). Tiada sebarang halangan untuk mengadakan pameran-pameran yang menampilkan karya-karya seni yang ‘sensitif’; masalah utamanya adalah mencari galeri atau ruang alternatif yang sanggup mempamerkannya kepada orang ramai. Pada hemat saya, para kurator wajar memainkan peranan lebih besar untuk memastikan ‘kejayaan’ (yang tidak saya nilai mengikut jumlah khalayak yang hadir ke pameran, atau mengikut berapa banyak liputan akhbar yang diterimanya) manamana pameran serta acara budaya yang dikurasi mereka, dan selanjutnya merancakkan perkembangan seni kontemporari Malaysia. Mereka wajar terlibat dengan keseluruhan proses pameran: daripada pengkonseptualan awalnya hingglah kepada proses perbincangan dan penilaian selepas tamat pameran. Model kuratorial pelbagai-sisi yang saya usulkan harus mengikut susunan begini: cetuskan konsep/ tesis – jalankan penyelidikan – persiapkan kajian latarbelakang – tetapkan tema – pilih artis/karya –sediakan penulisan akhir – susun dan atur ruang – anjurkan pameran dan acara-acara sampingan – akhiri dengan satu acara sambutan/kritikan selepas pameran – warwarkan pameran itu! Mungkin beberapa pameran mutakhir boleh saya anggap memenuhi ciri-ciri model pengkuratoran ini: Takung (Hasnul Jamal, 2004), Bara Hati (Niranjan Rajah, 2003) dan Malaysian Art Now (Adeline Ooi, 2004). Demi untuk memartabatkan budaya visual dan bidang seni, paradigma pengkuratoran pameran mestilah dikaji semula dan dirombak selaras dengan perubahan konteks-konteks sezaman (kapitalisme global, konsumerisme pop, politik budaya, medium visual dll.) Jika tidak diberikan sepenuh kuasa bagi membolehkannya menentukan konsep serta teori yang mendasari pameran, kurator tidak sepatutnya menerima


Program Lebuh Seni Kuala Lumpur bagi bulan Jun 2011 akan diadakan pada 18 Jun 2011 (Sabtu), jam 2.00 petang hingga 10.00 malam di Jalan Raja (Berhadapan Restoran Warisan), Dataran Merdeka, Kuala Lumpur. Program Lebuh Seni akan mengenengahkan dan memperkenalkan hasil seni dan karya para penggiat seni dalam pelbagai bidang antaranya produk kraf, tarian, muzik dan sebagainya. Program Lebuh Seni diadakan secara berkala pada setiap hari Sabtu (minggu ketiga) setiap bulan bagi memastikan warisan seni dan budaya dapat dikekalkan dan tidak hilang identitinya

BSLN SANA SINI

Antara aktiviti pengisian yang akan diketengahkan pada bulan Jun ini adalah gerai-gerai jualan lukisan, pendidikan dan pembelajaran menerusi lukisan, jualan berbagai produk kraf, seni lukisan berbentuk sejarah Malaysia, budaya, flora dan fauna serta lukisan seni halus, demonstrasi interaktif batik canting dan muzik, nyanyian, tarian, badut dan buskers (Art sale and Demonstration Art classes and Education through Art Variety sale of craft products Artwork based on history, culture, Flora and fauna, and abstract artwork Demo/Interactive batik canting session, music, singing, shuffle, dances, clown and buskers). Program ini akan menyaksikan penyertaan khas daripada Persatuan Karyawan Malaysia dan pertandingan kuiz juga Kehadiran anda dan berkumpulan adalah amat dialualukan bagi memeriahkan lagi program Lebuh Seni Kuala Lumpur. Ayuh, sepetang di Lebuh Seni Kuala Lumpur!

Melawat booth Pelukis di Lebuh Seni, Kuala Lumpur

PAMERAN MUSLIM WORLD BIZ 2011 8 Jun 2011 – 11 Jun 2011 - Hall 3, PWTC, Kuala Lumpur OIC International Business Centre Sdn. Bhd.

Pameran ini telah berlangsung selama 4 hari di Hall 3, PWTC, Kuala Lumpur. Objektif utama penganjuran acara ini adalah untuk menjadikan Malaysia sebagai “Global Islamic Business Hub” yang terdiri daripada pelbagai sektor antaranya usahawan kecil dan sederhana, pendidikan, perbankan mahu pun industri kreatif seperti seni visual. BSLN telah mempamerkan tujuh buah karya pada pameran kali ini. Lima daripada karya-karya tersebut adalah daripada koleksi himpunan tetap yang dihasilkan oleh Cheong Soo Pieng, Ismail Mustam, Ibrahim Ismail, Yeoh Jin Leng dan Voon Kiat Fai. Dua buah karya lagi diambil daripada Pameran Story Telling yang berlansung di Galeri Café. Pameran ini telah dirasmikan oleh Datuk V. K. Liew, Timbalan Menteri di Jabatan Perdana Menteri pada 9 Jun 2011. Sebanyak 500 buah ‘booth’ terlibat di dalam pameran ini.

Pada 14 Jun 2011 yang lepas telah berlangsung satu Penggambaran Rancangan Kelab Upin & Ipin untuk tayangan TV9 dalam Segmen Jom di Balai Seni Lukis Negara. Dalam segmen Jom, akan diadakan penggambaran sesi lawatan ke BSLN dengan membawa Mascot Upin & Ipin, bersama dua orang mentor kanak-kanak untuk melawat dan menceritakan sedikit sebanyak tentang BSLN. Di samping itu juga, diadakan juga sesi menemuramah tentang BSLN.

Disediakan untuk 'Asian-Europe Foundation’s Multi-faceted Curators' Workshops', Indonesia (2006)

HARI BELIA NEGARA 2011 Sempena Hari Belia Negara 2011 yang bertemakan “ Himpunan Sejuta Belia “ pada kali ini dilihat sebagai satu landasan terbaik bagi agensi – agensi kerajaan, syarikat konglomerat , Badan bukan kerajaan dan persatuan – persatuan dalam merebut ruang dan peluang mempromosikan produk dan objektif utama organisasi. Program ini merupakan anjuran Kementerian Belia dan Sukan Malaysia dan Kementerian Penerangan, Komunikasi dan Kebudayaan memainkan peranan menghimpunkan satu juta belia dalam menyediakan 200 aktiviti yang dapat memberi manfaat kepada belia amnya. Cawangan Perkhidmatan Pendidikan, Balai Seni Lukis Negara dengan rangkaian kerjasama Nextpert Sdn Bhd telah mengambil kesempatan ini dalam mengadakan pelbagai aktiviti seni yang berbentuk e- komik “ online “, jualan karikatur dan lain – lain aktiviti seni. Dianggarkan seramai 10,000 orang pengunjung telah mengunjungi ‘booth’ pameran dan jualan tersebut sepanjang 3 hari .

PENGGAMBARAN UPIN IPIN DI BALAI SENI LUKIS NEGARA

bulat-bulat tugas-tugas kuratorial untuk sekadar menjadi penulis katalog, atau untuk berlagak sebagai ‘bintang dan dewa’ yang mengabsahkan atau menyokong gaya-gaya atau naratif-naratif tertentu. Memandangkan kurangnya pengkritik seni serta lemahnya infrastruktur seni di Malaysia, para kurator harus memainkan beberapa peranan serentak: pengkritik, pengkaji, penganjur, pengurus, pentadbir perhubungan awam. Mereka harus menggali dan mengetengahkan bakatbakat baru secara adil, harus memperkenal dan mencetus pemikiran baru, harus berbicara dan berdebat dengan pelbagai ‘mazhab’ baru; mereka wajib berfungsi sebagai radar dan antena masyarakat (seni).

16 MEI 2011 - Melawat Studio Pelukis di Langkawi

Melawat komuniti pelukis 'Rajawali' dan juga Balai Seni Lukis di PAHANG

Sambutan Karnival Seni Budaya 1Malaysia diadakan bersempena Hari Belia Negara 2011 pada 27-29 Mei 2011 (Jumaat-Ahad), bertempat di berhadapan Bangunan Kementerian Sumber Asli dan Alam Sekitar ,Putrajaya yang diraikan bersama Dato' Seri Utama Dr. Rais Yatim, Menteri Penerangan, Komunikasi dan Kebudayaan dan Dato' Ahmad Shabery Cheek , Menteri Belia dan Sukan Malaysia. Antara aktiviti yang dijalankan sempena Hari Belia Negara 2011

All catalogues mentioned are available at NAG's gallery shop. Get them now!

a) b) c) d) e) f) g) h) i) j) k) l) m) n) o) p) q) r) s) t)

Himpunan Sejuta Belia Modal Insan Y Avenue Malaysia Cergas Karnival Kerjaya MAHA Youth International Youth Majlis Belia 1 Malaysia Karnival Seni Budaya 1 Malaysia Perhimpunan Sukarelawan PBSM 1 Malaysia Youth Tourism Fair World Youth Fantasy and Gadget World Jom Heboh edisi Hari Belia Negara Karnival Gen Y Amusement Park Celebrity Village Performing Art Centre Karnival Jom Makan 1 Malaysia Pink Village Karnival Produk Kecantikan dan Industri Desa

12 JUN 2011 - Melawat Balai Seni Lukis Sabah & Perjumpaan bersama Persatuan Seni Visual Sabah

Secara keseluruhannya sambutan Hari Belia Negara 2011 telah berlangsung dengan penuh gilang gemilang, disamping itu dapat memenuhi sasaran menghimpunkan sejuta belia disepanjang 3 hari berlangsung sambutannya.

*Essei ini diterjemah khas oleh Nur Hanim Khairuddin dari ‘The Role of Curators in Malaysia Boleh! Ms 165 untuk SENIKINI #12. ‘Euforia: Selonggok Retorik Nur Hanim Khairuddin Tentang Seni’ diterbit oleh Muzium & Galeri Tuanku FAuziah, USM & Teratak Nuromar. Ia boleh didapati Kedai Galeri Balai Seni Lukis Negara (RM30) atau mana-mana kedai buku terutama (RM40). Untuk membeli secara online-sila hubungi : terataknuromar @gmail.com

24 JUN 2011 - Puncak Art Gallery, Merasmikan Pameran Taman 2011 oleh Pelukis Yusof Ghani.

21 JUN 2011 - Galeri Shah Alam, melawat pameran terbuka 2011


It sounds like a wonderful life and that Malaysia has been a gracious host.  Indeed this is true, but it’s not as simple as it sounds.  Nadia has been travelling and trading her art since 2009 when she traded a painting for a two-week stay at the famous Chelsea Hotel in New York.  Without an alternative means of income, this way of living takes a strong belief in oneself and one’s art, as well as a great deal of courage and faith in life itself.  Nadia is living proof that this is all possible, that life doesn’t have to be a desperate game of chance in which we need to put up barriers to protect ourselves from a crazy world outside.

I

first met Nadia last year at her inaugural art exhibition in Malaysia, at the Royal Langkawi Yacht Club.  Walking through the yacht club, I did a double take.  Its familiar commercial neatness was interrupted by a little wooden sign with the words “art show” painted in small, unassuming letters.  As I passed what was once an office and read those words, I didn’t know that I was about to meet the living and breathing inspiration that is Nadia.  I took a few steps back and peered into the dark interior.  I felt a little beat of excitement – this already felt so different - and dared myself to go in.   Nadia’s abstracts were painted on used sails, stretched over a more traditional frame, and pieces of old wood that had once been parts of people’s boats.  They were beautiful.  She told me a little of her journey and that she had recently spent time living and working on a yacht in Langkawi and had been inspired by her time there to explore these new materials.  

Why is she doing this?  I think fundamentally because she’s an Artist.  I believe that a true Artist is always exploring and questioning their world and beyond, opening new avenues, playing with ideas, expressing their innermost emotions.  And Nadia’s world is deep.  She’s delving into what it means to live at this time.  She wants to have faith in the world around her, to show others that, in her words, “we can live listening to our hearts instead of fear”.    This is radical.  Today more so than ever.  How often do we act purely out of love?  Trusting that we are loved?  I think reacting to our fears is how most of us live most of the time, whether it’s in a survival situation or simply when we’re too concerned with what others think of us.  Nadia is courageously lighting up an extraordinary new path for us and, while the reward is in the living itself, as a pioneer it must sometimes be a tiring, fragile and lonely voyage.

So how do we act from our hearts?  What is love? These are huge questions, but taking Nadia as my inspiration, I think love is unconditional at its core.   Perhaps when we act from our hearts we give or create or perform without motive, in other words we express something honestly.  But I guess Nadia would be better at answering these questions.   Malaysia is blessed to have experienced Nadia’s beautiful spirit.  Nadia’s paintings will be her obvious legacy here in Malaysia but a more subtle lasting impression will be how she connected with and inspired others, artists or otherwise. Person by person, I believe that Nadia’s art and her brave heart can change our frightened, fragmented world.   After a great adventure, Nadia is leaving Malaysia and is on her way to Singapore, Indonesia, Australia….

To reach Nadia, visit her website at nadiabertrand.blogspot.com or email her at nadiabertrand@gmail.com.

The Art of Living… | SHELLEY BROOME I was thoroughly engaged by the paintings themselves but I also felt excited by the idea that Nadia had felt so much as to breathe new life into these worn parts destined for the garbage. Perhaps this is the essence of Nadia.  Trust.  In this case she was trusting that she could give a second life to discarded debris.   Nadia Bertrand has been travelling away from her home of Quebec, Canada, since early 2009.  She moved to New York, then landed in Asia later that year when she came to Shanghai for an exhibition of some of her work. In all of this time she has been creatively living her life, trusting that all her needs and desires will be met.  As a previously unknown artist in Malaysia, she arrived here with the positive expectation that she can live life to the full with only her tubes of paint, the odd paintbrush a sharpened pencil or two and, most importantly, her faith in life.  And she really has been doing this. She drew portraits to pay for her Chinese visa, and in Malaysia she has been drawing portraits at many pasar malam and, on more daring days, selling abstract drawings at the beach.  She was also the artistin-residence at Vistana Hotel in Kuantan for several months. An artist accepting commissions, an artist trading paintings for shelter, clothes and food, and an artist inspiring other artists and would-be artists, Nadia is above all an artist of deep feeling and integrity, and this informs all of her work.   She has held solo exhibitions or been part of joint exhibitions and has travelled through Malaysia mainly by walking, hitchhiking and cycling.  In all of these activities she has naturally connected with the local community. 

26/page


http://www.klfestival.org.my/aktiviti.html

Ministry of Information, Communication and Culture Malaysia

BALAI SENI LUKIS NEGARA 2 Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur T +603 4025 4990 F +603 4025 4987


www.malaysiaartgalleryguide.com


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Illustra

tions b y : Ba

khtia

r Nai

x2

Coming Soon ‘Mainx2’ is a project by the education division of the National Art Gallery (NAG). It is a yearly project, and the first part of ‘Mainx2’ will begin in November 2010 to Sept 2011. The long term aim is to create awareness and curiosity towards the developmentals taking place in the local visual arts. Inspired by the playful spirit of children, ‘Mainx2’ project invites all visitors of NAG namely, groups with special needs, students, educators, families, artists, art collectors, all visitors to participate. To Create,To Communicate,To Connect

Sambungkan titik-titik Connect the dots

Illustrations by : Khairul Azmir Shoib a.k.a. meme

Minah Mohd. Hoessein Enas. Datuk 1958 Cat minyak 45.5 x 35 cm


'Reflection'. mixed media on canvas. 72x144 in

What were the most memorable/ unforgettable experiences you’ve had as an artist working overseas?

Name : Suhaimi Fadzir Year of birth : 1963 Hometown : Lenggong, Perak Education : Bachelor of Art and Master of Architecture Current Base : St. Louis, USA

One of the most memorable moments or experiences was having a show with world famous photographer’s, Ansel Adams at Schmidt Art Center in Illinois, USA and another was to be an artist represented Malaysia at Venice Biennale in Venice, Italy, with PAM and MATRADE. It’s an honour for me as an artist when Schmidt Art Center acquired two pieces of my artworks as their permanent collection. Among famous artists in their collections are Rembrandt, Claus Moor, Salvador Dali and Ansel Adams. I also was selected as one of the winner for the master plan redevelopment competition of the old quarters in St. Louis downtown. This year I had been invited to Florence Biennale. Since this is my first Florence Biennale participation, I’m so proud to write Malaysia as the representing country of the artist, even though I have a choice to write USA in the column. How often do you come back to Malaysia? What are your typical activities when you are back here? I always shuttle back and forth, maybe once every three or four months. Usually I try to catch up with my art friends, collectors and of course our art institutions like NAG. I am also working on my SCCAP program. It is a program to introduce art to rural folks. As you are aware most of Malaysia’s art galleries are in Kuala Lumpur or other big cities, which is inaccessible to many people from the rural area. I decided to bring art to them or you can say bringing galleries to kampung and also held a small workshop for discussion on art. My first program was held two years ago with the help of Jabatan Muzium Malaysia. The next SCCAP program is still in the pipe line and I hope to be able to do it sometime next year. I want to take it to more villages. The logistics behind this is tough. It is easy to get volunteers to help out, but the biggest stumbling block is the fund. I hope the government or other bodies to extend more monetary help for this program. This is my way of giving back to society. It is not a profit oriented program and neither is anyone associated with it getting a salary. What advice would you give to other aspiring Malaysian artists hoping to make it abroad?

How long have you been based abroad? Since 1981. About 20 years on and off.

What are the differences in terms of environment, working as an artist in Malaysia and abroad?

What made you decided to venture overseas? I was offered a scholarship to further my studies in the United States of America.

For me it’s not that much different and I don’t feel rootless. When you travel the world and meet different people, you realize one thing; we might speak different languages, have different religions, cultures, etc, but deep inside we human beings are the same. We desire the same things; to be happy, to be loved, to be appreciated and so forth. So, as an artist, to practice in Malaysia or abroad, it doesn’t make such a difference.

What were the initial challenges when you began your art career in a foreign land?

My work at the Venice biennale

It was very tough. Imagine that at every city in the USA has thousands of living artists. As an artist in a foreign land, I had to work hard, give immense dedication, and practiced discipline. Unfortunately, sometimes with a Malaysian name like Suhaimi, the rejection will come even before one shows one’s artworks. But as time passed, I realized that once I understood that my artwork, my ideas were as good as or even better than my peers, people noticed and began to appreciate my work. What are the advantages of being based overseas and how have those advantages nurtured your artistic and creative talent? Both the advantages and disadvantages come hand in hand. It’s the same thing happening everywhere around the world. We just have to adapt and move on.

Pray, work hard and believe in yourself. SUHAIMI FADZIR +6012 320 0680 archipainting@gmail.com

What are some of the themes that inspire your work? I had been working on my own concept of painting called ‘Archipainting’. It is a coined term for architecture and painting, a painting with underlying structure. I started working on it since 1980s utilizing and embracing three-dimensional technique of assemblage with found objects, balancing chaos and order. What artistic works/projects are you currently working on right now? I’m working on my new series called RTFO or Recycled Toys and Found Objects. I started this series few years back. My RTFO’s solo show in USA was held in November last year, and I’m looking forward to have my RTFO’s show in Malaysia maybe sometimes at the end of this year or early next year.

SCCAP art exhibition


How long have you been based abroad? For more than thirty years, unwittingly.

Performance piece entitled 'Red Room' (2004),

I moved to Rome to study at the Academy of Fine Arts in 1976. It was a rather hard decision to make, because at that time this type of study was not considered a valuable one, especially in my father’s eyes - he disliked my choice. Fortunately enough, my mother has always been seconding and encouraging me in anything I wanted to do. I deem that there is a part of mankind that leaves a country and goes in search of other cultures to build up a new identity, even though it does not stop them loving their own nation. Another part of mankind migrates for want of jobs, being compelled to go out; others may follow love; but there are also those who have to flee from war. Compared with them, I am certainly a privileged person. Was it very difficult initially when you began your art career there? At the beginning of my career, first of all I was lucky enough not to be aware of the difficulties I would have to face. For this reason, I was able to accumulate much energy and will to do, and this attracted others to believe in my project. From the very outset I enjoyed the privilege of being invited to exhibitions and events that fostered my growth and maturation along my long lasting artistic pathway. Do you think being based abroad offers certain advantages for visual artists as compared with being in Malaysia?

Name : H.H.Lim Year of birth : 1-8-1954 Hometown : Pulau Pinang Education : Academy of Fine Arts, Rome Current Base : Rome, Italy

I don’t think that there are such advantages for everyone, any person being a distinct case. Mine is a rather complex one, because in Malaysia my parents care much about me and are running a well going business – on the other hand destiny, if there is one, led me to move abroad, after leaving a comfortable and reassuring milieu, and face life in a foreign country, what is not always so easy because one has to anything on one’s own, such as first of all language and then friends, home, daily expenses and all the other difficulties of everyday life. Probably, it was this hardship and struggle for survival, turned into advantages that strengthened my creativity. This is why I say that living outside one’s country does not represent an advantage for anyone, because such hardship induced many to go back home. I think that the duration of one’s pathway is a decisive and necessary feature.

'Installation from 'H.H Lim: Hidden Treasures' (2011)

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What made you decided to venture overseas?

This is again something that cannot be generalized. As far as I am concerned, maybe I don’t have a surly character, and this facilitated my relations with others and strengthened friendship with other artists. What are the differences in terms of environment, working as an artist in Malaysia and abroad? There is certainly a difference between Italy and Malaysia. Italy enjoys many advantages, it has an impressive history of art, numerous events and meetings. Malaysia would certainly need more museums of contemporary art, finding ways to arise enthusiasm for art and realizing more events without following temporary fashions; it has to make efforts in order to assure a constant and growing cultural activity to be handed down to the next generations. Could you tell us what themes inspire your work? The themes that inspired, and are still inspiring, my works are strictly linked to the courses of my daily life. Events, images that surround me, what I experienced and observed, lessons from which I could learn something, trips, the environment in which I’m living, and so on – these are all witnesses I tried to store as truly as possible and to transform into art through interpretation and from my point of view.

What are your typical activities when you are back here? I come back home to Malaysia twice a year to see my beloved ones and enjoy the tasty local cuisine I am always missing. Besides that, I’m trying to recover my energies to face the next challenges. For aspiring Malaysian artists who are hoping to make it abroad? What advice would you offer them? A suggestion I feel I am able to give young artists is, to keep maintaining the energy of their youth. The worst thing is to lose such energy because it means losing enthusiasm. These types of work has to last for a whole life, it is not possible to give up halfway. One must always stay in the middle of the battlefield with oneself and the ideas in which one believes. I consider life experiences, especially those gained when traveling, highly important and indispensable in order to be able to envisage and steadily follow a long pathway fill with both satisfactions and disappointments, ups and downs. In my opinion, success – as it is called - does not exist, real satisfaction consists of reaching the end of one’s pathway, without losing the belief in one’s ideas.

What is keep you busy at the moment? I’m just working on a great project. Since my ideas are embedded in a continuous transformation process, by now it is difficult for me to exactly explain on what I am working. I would prefer to speak about it when I’m able to answer you in a more precise way. As a Malaysian artist living and working overseas? What were the most memorable/ unforgettable experiences you’ve had? Considering the dullness of my memory, maybe due to age, it is easier for me to remember my recent works, those exhibited at the UCCA in Beijing, with Jérome Sansas in the curator’s role, and the Biennial Architecture Show in Venice last year. (1996) Image Project : Sound Of Music

'Installation work from 'H.H Lim: Gone with the wind' (2010)


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Kufi On Kanvas Yushafizal Yunos kufionkanvas@gmail.com 012-252 5644

On Target Training Sdn Bhd -books, posters, manuals, simulation software, E-book,E-learning, educational dvds, Interactive Cd-Roms, customized content development.

VALERIE YAN CREATIONS Valerie Yan ( Illustrator) Rainie_yan@hotmail.com http://valeriecreations.blogspot.com Nurgajir@Gajir (Tempahan Nama Dalam Tulisan Jawi Lukisan Atas Kanvas) 017-366 9290 http://gajirkaligrafi.blogspot.com -Oil Painting -Abstrak -Seni Khat Tan Chee Hon Artist @ photographer 85B, jalan tiong nam, 50350 Kuala lumpur. Email: tchon75@gmail.Com picasaweb.google.com/tchon75

Office-03-77859716 Fax-03-77859718 email: arull@ottlearning.com.my HAVEN (something for everyone) Lot S211 (2nd floor) Promenade, 1 Utama Shopping Centre, 1 Lebuh Bandar Utama, 47800 Petaling Jaya, Selangor. tel: 03-7727 3541 email: getcrafty@craft-haven.com www.crafty-haven.com

Clarity Enterprise (wholesale & retail keychains, accessories & art pieces) No. 21 Lorong 9/115C, Taman Jaya, Off Jalan Kuchai Lama, 58200 Kuala Lumpur. Tel/Fax: 03-7875 9195 Email: clarityenterprise@gmail.com


The Book Chest 4.71, 4th Floor, The Mall, 100 Jalan Putra, 50350 Kuala Lumpur. Tel/Fax: 03-2771 0306 “We specialize in used books” -Books (Fiction/Non Fiction), for sale/Rent -Magazines/Comics for sale -Photocopy/Faxing/Laminating/Binding -Book/Magazine/Comics buybacks

Design Art Books Lot FF-07, The Waterfront @Park City 5, Persiaran Resident, Desa Park City, 52200 Kuala Lumpur. Email: deendab@gmail.com Tel: 03-6280 7876 Fax: 03-6280 7875

BASHEER GRAPHIC BOOKS AT BORDERS Lot – 216-B, Third Floor, The Gardens Mid VALLEY Lingkaran Syed Putra 59200 Kuala Lumpur. www.basheergraphic.com www.basheercityroom.com

Internasional Art Services(M)Sdn Bhd -mover and transportation of artworksJerry (Supervisor) Tel: 03-7846 5821 Fax: 03-7846 1944 Email: internationalartservices@jim.com.my

THE ART SHOP (Art Material, Technical Drawing Instruments, Stationary) No 65, Jalan Negara, Taman Melawati, 53100 Kuala Lumpur. Tel: 03-4108 8322 Fax: 03-4107 8036 Wholly Owned By Hi-Scan Wholesale Sdn.Bhd.

Leong Brothers -Artistic, Frame Specialists and Designer, Glass Dealer331 Jalan Tuanku Abdul Rahman, 50100 Kuala Lumpur. Tel/Fax: 03-2691 3941 Tel: 03-2692 2116

ART.FRIEND (Complete range of Art, Graphic & Craft Materials, and Stationary) Tel: 03 2284 7777 Fax: 03 2284 7577 email: kl_eng@artfriend.com.sg Lot T-213, Third Floor, The Gardens, Mid Valley City, Lingkaran Syed Putra, 59200 Kuala Lumpur. www.artfriend.com.sg

KHAI LIEN SILK SCREEN SUPPLIERS (M) SDN.BHD. 132, Jalan Selar, Taman Bukit Riau, Batu 3 ½, Jalan Cheras, 56100 Kuala Lumpur. Tel: 03-9283 7032 Fax: 03-9285 1035 Email : kailien@po.jaring.my www.khailien.com.my We supply: Inks, Machineries & Equipment, Other Silkscreen Materials, Advertising.

WS ART & FRAMES CENTRE SDN. BHD. (Art Gallery, Conservation & Custom Framing, delivery & Installation of Artwork.) No 34, Jalan Dang Wangi, 50100 Kuala Lumpur. Tel: 03-2698 0132 Fax: 03-2692 7520 Email: wsartctr@msn.com A member of: PROFESSIONAL PICTURE FRAMERS ASSOCIATION(USA)

Perniagaan Hai Kuang Sdn. Bhd. -Supplies all kinds of screen printing, pad printing,materials, equipment machinery and stencil making service. Head Office : No. 51, Jalan Dato’ Haji Eusoff, Damai Komplek, 50400 Kuala Lumpur, Malaysia. Tel: 03-4042 9569, 4042 0071, 4041 9493, 4041 9479 Fax: 03-4042 2467(ADMIN) , 4042 3425(SALES) Email: haikuang@tm.net.my SOLE DISTRIBUTOR IN MALAYSIA (The Most Famous in Silkscreen Printing Industry)

No second hand clothes or pre-loved items, please – this is not a flea market! We provide chairs but not tables. Everything you sell must be valued at RM100 or less. Closer to the date of the event, we will ask you to come in to The Annexe Gallery to pay for your stall and choose your lot, on a first come, first serve basis. (Bank transfers can be arranged for vendors living outside KL.) We love all you crafty folks, but due to having too many folks selling accessories and dolls, special priority will be given to those selling art (drawings, paintings, sculptures, photographs, performance art). Interested? Send an email to goh.leekwang@ gmail.com with the heading: "AFG Sep2011 Booth". In the email, please include:

1. Your name(s) 2. Phone number(s) 3. Photos and descriptions of the items you're selling 4. Number of lots you need

HOW TO BOOK A SPACE FOR AN EVENT? In conjunction with the bazaar, we also have a room for events, in hopes to make Art For Grabs feel like a mini Arts Festival. From 12pm to 8pm on both days, there are a total of 16 hours for booking. Event slots are now RM200 for 1hr or RM300 for 2hr. You can have the room to launch a product, facilitate a workshop, hold a forum, screen a film, organise a gig, fashion show, anything lah. Email with heading "AFG Sep2011 Event" to pang@annexegallery.com . In conjunction with Malaysia Day, here is also your chance to celebrate what it means to be Malaysia!

ART FOR GRABS MALAYSIA DAY, 17+18 Sep, is now open for tender. Please note booth price is now RM120 for two days. We're sorry we're a bit choosy now - so many applicants mah. Please be creative, surprising, arty, grabby. Those who do something specially for Malaysia Day get special consideration! What does Malaysia Day mean to you? Show us! DEADLINE for submission is 17 July 2011. We will announce to those who have been selected by end of July. If they don't pay in 2 weeks, we will give their spots to those on the waiting list. HOW TO BOOK A BOOTH? Each lot is 5 ft wide and 5 ft deep, plus the wall behind you, and costs RM100 for two days. The awesome elevated lofts in both galleries are also available at negotiable prices. What you can sell: Paintings, Photos, Prints, Sketches, Sculptures, Films, Music, Books, Zines, T-shirts, Dolls, Accessories, Recycled, Found objects, etc. You can also use the booth to promote your arts/creative business.

FREE STALLS FOR NGOS & ACTIVISTS A FEW FREE LOTS are available for NGOS and activists to set up booths to promote their causes and wares. Interested parties, please send your proposals to us and let us know what NGOs/ cause you represent and what you plan to do with your booth (the artier the better). For free stall, please email goh.leekwang@gmail.com with the heading "AFG Sep2011 Free".


Folk Art Festival 2011 Date : 22 - 24 July 2011

This event held in conjunction with the 6th Sabah International Folklore Festival aims to introduce the State's unique visual products and talents while promoting tourism amongst the international participants.

FURTHER INFORMATION Organiser : Sabah Art Gallery Contact Person : Ms. Jennifer P. Linggi, Curator Telephone : +6088 268806 Fax : +6088 210040 Email Contact : jplinggi@yahoo.co.uk art.gallery.sabah@gmail.com


BARU

AKAN DATANG

AKAN DATANG

AKAN DATANG

PENERBITAN BSLN NAG'S PUBLICATION

BARU

All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my


The National Art Gallery (NAG) was established on 27 August 1958 under the patronage of Malaysia’s first Prime Minister Tunku Abdul Rahman Putra Al-Haj. Presently the NAG, under the Ministry of Information, Communications and Culture Malaysia, aims to create awareness, understanding, appreciation of the visual arts and is the custodian of our national visual arts heritage.

Tabik : A Tribute To Late Artists (NATIONAL COLLECTION) 28 Apr - 10 July 2011 Reka Gallery Curator : Norazmah Binti Rasyid

‘KASIHNYA IBU’: AN ODE TO A MOTHER’S LOVE. 18 Apr - 12 June 2011 Galleries 3A &3B Curator : Tan Hui Koon

‘BEREHAT’ : A CELEBRATION OF THE WORKERS OF THE WORLD! (NATIONAL COLLECTION) 1 May - 31 July 2011 2B Gallery Curator : Tan Sei Hon

MUKA-MUKA\‘FACES’

(NATIONAL COLLECTION) 30 May - 17 Jul 2011 2A Gallery NAG Curatorial Team

MANIFESTASI MERDEKA BY YOUNG ARTISTS (NATIONAL COLLECTION) 8 Aug - 11 Sept 2011 2B Gallery Curator : Faridah Hanim

‘WAYANG U-WEI ANGKAT SAKSI’ 11 Jul - 5 Sept 2011 Galleries 3A & 3B Curators : U-wei Haji Shaari & Faizal Bin Sidek

GETARAN JIWA P.RAMLI 1 Aug-20 Oct 2011 Gallery 2A Curator: Haned Masjak

RESOURCE CENTER

‘YAYADAN’ : SYUKUR SELALU

(NATIONAL COLLECTION) 27 Jun - 4 Sept 2011 Reka Gallery Curator : Mohamad Majidi Bin Amir

WELCOME

EXHIBITIONS

GALLERY CAFE

2 Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur

LI CHI-MAO : JOY OF LIFE 26 Sept - 30 Oct 2011 3B Gallery Curators : Vincent Sim & Erry Arham Bin Azmi

T+603 4024 4998 F+603 4025 4987

RAJA ‘AH : SULAIMAN ESA

20 Sept - 20 Nov 2011 Galleries 3A & 3B Curators : Nur Hanim Khairuddin & Mohamad Majidi Bin Amir

CONCEPTUAL

9 Oct 2011 - 26 Mar 2012 1A Gallery Curator : Faizal Bin Sidek

‘PERTARUNGAN’ : AMRON OMAR 13 Nov 2011 - 12 Feb 2012 3A Gallery Curator : Alizam Bin Hasan

“HOME COMING” : ALI RAHAMAD 28 Nov 2011- 31 Jan 2012 3A Gallery Curator : Nur Hanim Khairuddin

PELANCARAN BUKU & MINI PAMERAN : PERJUANGAN PAK SANI’ 5 Dec - 31 Dec 2011 3B Gallery Curator : Rohana Binti Mohd Yusof

GALLERY SHOP

CONTEMPORARY FINISH GRAPHICS 12 Dec 2011 - 30 Jan 2012 2B Gallery Curator : Usnita Binti Nasir

www.facebook.com /ar tgaller y.gov.my

nationalar tgaller y.blogspot.com

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