A R T H O P E A
Artscience
SPHAERA Reconciliation Through Collaborative Methods
Collections & Heritage
Jho Low’s Art Collection Artists Take Traditional Art To The Young Konservasi Masjid Diraja
60 Years Of Balai Seni Negara
Amir Zainorin, Nur Hanim & Wong Hoy Cheong, Brigette Rozario Interviews Tan Sri Kamarul, Dato Mazlan Othman, Sharon Chin & J Anu
Art & Architecture Collective Paper Aesthetics KLAF 2019
Pemuisi Pago Pago Latiff Mohidin Jai Noor Iskandar
Pedagogy
AiS : Artists In School Malaysia The Rainbow Elephant
ISSUE NO #26 I SSN 1 98 5 - 72 33
9 771985 723000
A R T H O P E A
SENIKINI
merakam
usaha
SENIKINI berterima kasih kepada YAB Tun Dr
pembangunan
Mahathir Mohamad dan YB Tuan Mohamaddin
pasaran seni menerusi YAE!
bin Ketapi yang hadir bersama melancarkan
terhadap dan
telah
menjemput
sebilangan personaliti ikonik termasuk mantan Pengerusi
D
10tahun penerbitan ini, Chang Yoong Chia yang menyerikan muka depan dengan karya beliau, dan turut yakin bahawa dua Koleksi Balai Seni
Balai Seni Lukis Negara Tan Sri
Negara berbentuk lembaran untuk diwarnai akan
Kamarul Ariffin, felo ASM Prof
menyemai kasih di kalangan pembaca terhadap
anda menikmati edisi Khas 10 tahun SENIKINI. Setelah
Dato’
Othman,
warisan visual negara yang diamanahkan kepada
terhenti sejenak sejak isu #25 keluaran tahun lepas, kami
memberi syor dan harapan
institusi ini. SENIKINI amat berbangga dan
bersatu hasrat untuk meraikan 6o tahun Balai Seni Negara
masa hadapan .
engan segala hormat dan sukacitanya saya menjemput
Dr
Mazlan
berterima kasih atas sokongan pembaca, pelukis dan rakan seni serta komuniti diplomatik yang
bersama 10 tahun penerbitan Edisi Khas majalah ini, Pereka Noa Haim dari Rotterdam, dan Pada 2008 apabila terbitan pertama #00 diedarkan, sepuluh tahun dahulu,
tokoh seperti Prof Peter Abrahams
tiada yang menyangka bahawa edisi #26 masih diterajui Ketua Editor yang
serta
sama. Bukankah tanggungjawab dan komitmen mempromosi seni
Musotrees dan Mulaikha, kumpulan
Malaysia
WE & I, ArtKLitique,Kakiseni serta
itu
majlis meraikan 60 tahun Balai Seni Negara dan
memerlukan
visi
yang
teguh
dan
strategi
yang
berkesinambungan?
rakan
bakat
serantau
muda
turut
turut membolehkan ceritera seni kami dicapai jauh.
Khudeejuh,
berkongsi
pendapat dan harapan menerusi edisi Tema sambutan ulangtahun SENIKINI ini menyatukan zat utopia seni dan
khas SENIKINI. Catatan belasungkawa
harapan, yakni Arthopea, Ianya menandakan sedekad sudah usaha untuk
buat mantan Pengerusi LPSVN Dato’
berperanan dan menyumbang kepada dunia penerbitan seni dan
Mahadzir Lokman, ahli lembaga Puan
perhubungan massa di Malaysia dan serantau. Jelas SENIKINI sudah
Shireen Naziree serta seniman Khalil
mencatat sejarah tersendiri dalam memaknai dunia seni kini.
Ibrahim turut tersurat disini.
Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa Ketua Pengarah, Balai Seni Negara Director General National Art Gallery
Edisi Khas ini menghidangkan 10 fokus termasuk imbasan 60 tahun,industri kreatif, pedagogi, ulasan KLB2017, Start Up stories, Art & Architecture, Collections and Heritage, Artscience, Pemuisi Pago-Pago dan rakan-rakan yang menyambut Ulangtahun ke 10 : Malaysian Design Archives dan kemunculan semula AP Art Gallery.
It
"The Botany of Desire" Chang Yoong Chia, 2012. Gouache on cut dried leaves. 53cmx 17cm. Artist Collection.
gives me great pride to welcome all of you to enjoy our new and special edition SENIKINI. After a hiatus since the issue #25 last year, we have decided to publish this special edition commemorating 60 years of the National Art Gallery and to celebrate the 10th anniversary of this magazine.
This 10th anniversary edition themed ARTHOPEA, is a celebration of a renewed utopia of art and hope. In 2008, when the first magazine edition #00 was distributed, ten years ago,
In the appreciation of our artists, community and industry achievements, we have highlighted
no one would have guessed that the edition beyond #25 would still be
our art market developments in YAE!, and invited iconic personalities like our past Chairman
helmed in 2018 by the same Editor. Indeed the responsibility and
Tan Sri Kamarul Ariffin, Prof Dato’ Mazlan Othman to share their hopes on the future.
commitment in promoting Malaysian art requires steady foresight and strategic resolve.
Our Dutch paper artist friend from Rotterdam, Noa Haim, and specialists like Prof. Peter Abrahams, young talents like Khudeejuh, Musotrees and Mulaikha, NGOs like the WE & I art
SENIKINI continues to create art histories that make for the art world, as we
group the ArtKLitique and Kakiseni group, also share insights in this SENIKINI 10th Anniversary
know it today. SENIKINI is indeed proud and grateful to our readers: artists
issue. Notes of condolences to former Chairman Dato’ Mahadzir Lokman, former board
and friends, colleagues and diplomatic community without whom our art
member Puan Shireen Naziree and late artist Khalil Ibrahim are also included.
stories may not have been shared. SENIKINI is grateful to YAB Tun Dr Mahathir Mohamad dan YB Tuan Mohamaddin bin Ketapi This special edition highlights 10 focus stories : 60years, Creative Industry
for having graced the occasion of the 60 years of the National Art Gallery and SENIKINI 10th
Pedagogy, KL B2017 in review, Start Up stories, Art & Architecture,
anniversary launch . We thank Chang Yoong Chia for beautifying our cover page with his
Collections and Heritage, Artscience, Pemuisi Pago-Pago and friends who
artwork.
also celebrate their 10th year : Malaysian Design Archives and the re-vived
Lastly, it is hoped that the special colouring section of the Masterpieces in the National Art
AP Art Gallery .
Gallery Collection will serve to make you happy and truly appreciative of our visual heritage entrusted to us.
02
#senikini senikinibsln
artgallery.gov.my
A R T H O P E A
Nota Editor | Editor’s Notes 02
Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa
60 Years Of Balai Seni Negara | Towards Arthopea Amir Zainorin, Nur Hanim & Wong Hoy Cheong 04 | Brigette Rozario Interviews Tan Sri Kamarul, Dato Mazlan Othman, Sharon Chin & J Anu 07 Art handlers at Sotheby’s London in February hung Pablo Picasso’s ‘Head of a Woman,’ which Jho Low sold for $27.5 million-about $12 million less than he paid for it in 2013. PHOTO: BEN PRUCHNIE/ GETTY IMAGES
Industri Kreatif | Young Art Entrepreneurs (YAE!) Zuriyadi Sarpin 10 | Facing The Challenges Of the 4th Industrial Revolution Dr Mumtaz 12 | Melonjakkan Sektor Seni Budaya Malaysia ke Peringkat Antarabangsa Cendana | KPNB Koperasi Pelukis-Pelukis Negara Bhd 30
Art & Architecture
Pedagogy | The Rainbow Elephant Linus Chong 14 | AiS : Artists In School Malaysia Jumie Al idid 43
| Collective Paper Aesthetics Noa Haim 31 | KLAF 2019
Review
Collections & Heritage
| First, And Last Impressions, of the Kuala Lumpur Biennale 2017 Shyan aka Art KL-itique 15
| Artists Take Traditional Art To The Young Kakiseni 34 | Jho Low’s Art Collection Zanita Anuar, et.al 36 | Konservasi Masjid Diraja Sultan Suleiman Muhammad Hazrin bin Abdul Malek @ Mokhtar 48
Start Up Stories
Artscience
| Musotrees Kerol Izwan | Khudeejuh Ria Ismail 18 | Ultranovate Dr Z | Mulaika Jumatul Azmi 19 | WE&I Art Zuraini Anuar 22
| SPHAERA Dr. Roslina Ismail 38 | Art In Science Dr Lakshmi Selvaratnam & Professor Peter Abrahams 40
Pemuisi Pago Pago | Rawa-rawa Latiff Mohidin 28 | Serak Bersajak Jai 29 | Sesenja di Shah Alam Noor Iskandar 29 Foldable candle holder by Collective Paper Aesthetics, Noa Haim, made from aluminium printing plates Photographed by Steven Ensering
After 10 | Design Archives | AP AG Rohiman Haroon 44 | In Memoriam: Shireen Naziree, Narita Naziree & Kartika Naziree 46 Khalil Ibrahim, Ooi Kok Chuen 47 Dato Mahadzir Lokman Ras Adiba Radzi, et al 47 | Art Galleries Directory 50
| EDITOR IN CHIEF Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa | EDITORS Amerrudin Ahmad , Zanita Anuar, Zabas | EDITORIAL SUPPORT Norazmah Rashid, Osmihamidy Osman, Ana Alasri | DESIGNER E-Poch Creations Sdn Bhd and Sayid Rahman | PHOTO Mohd Yuzaini Ahmed Any feedback and comments please email to us at zanita@artgallery.gov.my | The publisher, National Art Gallery Malaysia, hold copyright of all editorial content. SENIKINI (ISSN : 1985-7233) is published by the National Art Gallery Malaysia. | All Rights Reserverd Copyright©2018 SENIKINI Art Now Printed in Malaysia.
Balai Seni Negara National Art Gallery Malaysia, No 2, Jalan Termeloh, Jalan Tun Razak, 53200 Kuala Lumpur, Malaysia. phone 603 4026 7000 fax 603 4025 4987
Cover Artist’s Statement An artwork I did while I was doing my artist-in-residence at 1Shanthiroad in Bangalore, India in 2010.. is actually a dried leaf I collected from Lalbagh Botanical A R T H O P E A
Artscience
SPHAERA Reconciliation Through Collaborative Methods
Collections & Heritage
Jho Low’s Art Collection Artists Take Traditional Art To The Young Konservasi Masjid Diraja
60 Years Of Balai Seni Negara
Amir Zainorin, Nur Hanim & Wong Hoy Cheong, Brigette Rozario Interviews Tan Sri Kamarul, Dato Mazlan Othman, Sharon Chin & J Anu
Art & Architecture Collective Paper Aesthetics KLAF 2019
Gardens in Bangalore that I have cut and painted and displayed stitched on a cotton screen so that both sides can be seen. The front is the leaf itself, while the back is its shadow. This work has never been shown in Malaysia and will be shown at my exhibition in Balai Seni Negara at the end of the year.
Pemuisi Pago-Pago Latiff Mohidin Jai Noor Iskandar
Pedagogy
AiS : Artists In School Malaysia The Rainbow Elephant
Even though the artwork is made from a leaf, it actually looks like a wayang kulit. In wayang kulit theatre, stories of heroism and love is performed in shadows. I feel art is like that. It is delicate, soft and shadowy. It resides in an imaginary realm parallel to the practical world we live in. Even though we can live without art on a practical level, we cannot live without imagination, love and hope - the very essence of art! The theme for this issue of Senikini is Artopia, which is derived from Utopia - an imaginary place for Art which is considered perfect or ideal. So, I would like to propose that the front cover of Senikini represents the real physical world, so you can see the leaf properly: how it was cut and what is painted on
ISSUE NO #26 I SSN 1 98 5 - 72 33
9 771985 723000
it. While the back cover represents the world of imagination where you can only see shadows.
The starting point to critical elaboration is the consciousness of what one really is and in ‘knowing thyself ’, as a product of the historical process to date which has deposited in you an infinity of traces, without leaving an inventory. Therefore it is imperative at the outset to compile such an inventory -Antonia Gramsci
In this SENIKINI Special Edition, we invite Amir Zainorin, Wong Hoy Cheong and Nurhanim Khairuddin to dialogue on the identity, roles and function of Balai Seni in the past and in the present, and towards a post GE14, a utopian future of art and hope i.e. ARTHOPEA. This dialogue is spurred by the inquiries set forth by Zanita Anuar of SENIKINI. These questions were e-mailed to the artists who are leading personalities who have long been admired for their stance, passion and tenacity, and are currently working abroad across borders, as they are continuously engaged locally and internationally to serve their community and the art world at large.
What is a National Art Gallery or specifically a Balai Seni Negara to you? Then and Now? AZ: Balai Seni Lukis Negara is like a national treasure with great collections of artworks by great artists. Back in mid ’90s when I had just started to ’find’ art as a form of living, i looked at Balai Seni Lukis Negara as a place where I could go and wonder around and find source of inspirations from the different artworks that were exhibited. Now after been based in Copenhagen for the past 16 years, i see it as a great meeting place with my friends everytime I am back in Malaysia while checking out the exhibitions being showcased. It is also a place where i hope to be able to do some kind of collaboration for an exchange programs or exhibition with the arts between scandinavian countries and Malaysia
NHK: Looking back as a young artist in the mid 1990s, I personally see Balai as an institution that has laid a very important stepping stone for me to receive early exposure for my own art practice. The Philip Morris Art Award and Bakat Muda Sezaman namely, were the two special events many young artists then were looking forward to. I guess, the opportunity to exhibit in Balai in a way became the catalyst for me to thread through the art world even further.
from that, I was also invited as guest curator for the acquisition board for a few terms. I suppose Balai has different roles for different people. In my case, its function changes through the phases and development of my art and curatorial practice. Hopefully now with the change in our political climate and new governance, Balai can look into new facets that were not able to be explored in the past.
During my tenure as the curator for Yayasan Kesenian Perak (1997-2010) in Ipoh, Balai also delivered assistance to and support for several art projects in the form of either financial or exhibition services. Since the late 2000, I also had the opportunity to work very closely with Balai for several times during the solo and retrospective exhibitions I curated for Raja Shahriman, Ali Mabuha, Dr Sulaiman Esa and Zulkifli Dahlan at the venue. Apart
Noor Azizan Rahman Paiman - Kerajaan Langit, Sky Kindom Digital print on 2016 National Art Gallery Collection.
WHC: As is in its name, it is a repository for an art collection of National significance. And what constitutes a collection of “National” significance will have to be identified and determined by the custodians of the gallery together with the art ‘intelligentsia’ - critics, historians, theoreticians, artists, etc. Dr Sulaiman Esa / Nurani / 1983 / mix media & acrylic handmade paper, yarn./ 150 x115cm Koleksi Balai Seni Negara
I have very little understanding of what the National Art Gallery is now, or if it is even called the “National Art Gallery ”anymore. As far as I know, it does not have a direction, and often appears to waver between being an agent for political propagation and a conduit for the art market, with a a neo-liberal thrust.
What is the identity you associated Balai Seni Negara with?Who do you associate the Balai Seni Negara with?
If I am not mistaken, you crossed path at the Balai Seni Negara, can you recall that moment? How did you feel when visiting Balai Seni at the time?
AZ: Malaysian identity. I associate it as a government body working towards the development ofarts.
AZ: The first time I crossed path at the Balai was back in 1998 when it was still at the Majestic Hotel just before it moved to the current location. The first time I went there was to check out the space and the artworks being exhibited. I felt inspired and thought that it would be great to see if the gallery would hang one of my artworks In my ignorance and not knowing how the system works, I returned a few days later with my ’best work’ done with oil on canvas. I was showned to the office by the guard and was later told that an officer from the gallery will be with me. After a couple of minutes waiting, the officer came out and congratulated me with my work. She was very kind and supportive and later explained to me that I have to go to a proper channel to be able to show my work there such as entering the competitions organized by the gallery. Feeling rather embarassed and rejected, I went back home with my painting knowing that it is not as easy as it seems to see my work hanging there but I felt kind of relieved and in a way left in good spirit for being treated well and with the interest showned on my artwork by the officer. The officer that I was talking about happened to be you, Zanita.
NHK: Although formally affiliated to the ministry that oversees art and culture, Balai has always been seen as an entity that is more open in terms of allowing a pluralism approach that promotes divergence in aesthetic sensibilities. It has become a launching pad that elevates the profile of Malaysian artists with different isms, schools and background. WHC: It is entirely unecessary to identify the National Art Gallery with personalities. This is precisely its downfall as it should be governed by a set of ideals and beliefs, not personalities who come and go. The clearest example in recent years is the parachuting of political appointees into the Board and administration to steer the curatorial direction. An example of this manipulation is the recent KL Biennale, where these political interlopers, with the mainstream media and gallery officials applauded themselves for a good job done while the art world outside Malaysia was laughing at us. That said, I must also acknowledge - although only tangential to the question - that there are some really good people in the curatorial and exhibitions staff of the gallery. Despite all kinds of horror stories I have heard, my experience of curating Ismail Hashim’s posthumous retrospective at the gallery in 2015 was genuinely rewarding and memorable. The quality of work despite limited resources, and the professionalism and commitment of the team clearly indicated that given the opportunity, they can rise up to the task and become stakeholders in the gallery, not mere salary earning civil servants.
NHK: It was during the Skin Trilogy exhibition in 1995, barely a year after my graduation from ITM. Hoy Cheong was the Artist’s Coordinator. Of course I felt really lucky to be able to exhibit my work along established artists like Zulkifli Yusof, Liew Kungyu, Symrin Gill, Bayu Utomo and Hasnul J Saidon, together with the stalwarts of performing arts! There were Krishen Jit (Director), Marion d’ Cruz and the Five Arts troupe, Vernon Adrian Emuang, Zahim Al-Bakri and many others who performed their powerful acts that were choreographed to transpire some kind of connectedness to all the artworks. I was quite nervous, being a newbie in the art scene, but very excited to explore something very challenging within my art practice. Prior to that, I have not experienced a cross-discipline kind of showcase. Oftentimes, my works will be just presented among any other artworks, in a normal art exhibition format. So, this particular project can be considered as a sort of benchmark that widened my perspectives on art, or rather arts. That Balai became the venue for this event, is something to be commended. WHC : If I recall accurately, I was a juror for the Young Contemporaries, and Nur Hanim submitted a work which was hand-made book. At that point in time, the dominant mode was painting, and it was refreshing and I pushed for it to receive an award. Whether it did win or not, I am not certain as I cannot recall the final decisions.
Amir Zainorin (AZ) / Nur Hanim Khairuddin (NHK) | Wong Hoy Cheong (WHC)
Has Balai Seni Negara played an important role in collecting for the nation? Would you recommend future works that should be as inspiring and acquired by the Balai Seni Negara? AZ: Balai ’s collection of arts is like a mirror to what is happening with the nation. So Yes, Balai plays a very important role and big responsibility in giving a true picture through their collections. Jeri Azhari, Ismail Zain and Redza Piyadasa artworks were most inspiring for me but I would recommend Balai to acquire more artworks done in the fields of performance art, sound art, video and installation. NHK: Yes, of course. A huge number of significant artworks representing different eras are in the possession of the institution and have always been referred to by researchers, curators and writers. Unfortunately, the collection is still quite small for a 60-year span. Many significant works were not purchased perhaps due to the red tapes in the acquisition process. Something must be done immediately. There is high competition now that many other private institutions and individual collectors are aggressively collecting too. The current demographic trend of contemporary artists is very exciting. Many who are not formally trained in art but rather different fields like literature, sociology and politic have explored the potential of art. Their works should be observed. Apart from that, the artists’ sketches archival collection that was initiated several years ago by Balai should also be expanded. Perhaps, if Balai’s purchasing power permits, the complete archives of noteworthy pioneer and senior artists can be part of the permanent collection. WHC : I have been on the pheriphery of the Malaysian art scene for over a decade now, and do not feel qualified to provide a laundry list of artworks for acquisition.
In the past sixty years do you recall any particular incident, which you wish had been handled differently by the institution? AZ: I think the KL Biennale could have been managed more professionally in term of better communication between the curators involved and the artists. But I can understand that the 3 curators involved must be overloaded with works when they have to handle 119 artists altogether. I was given about 3 months notice confirming my participation of the KL Biennale which did not give me much time for the preparation of the artwork. Normally confirmation of artists participation will be minimum a year before the Bienalle starts. The plane tickets were sent to us right towards the very last minute which created a lot of unnecessary uncertainties, stress and suspense. Some of the work were still under construction or not displayed after the opening day which does not reflect professionalism. And it will be nice for artists to receive some kind of honorarium for their professional service or participation in recognition of their works. Last but not least perhaps less censorship. Another incident I can recall was when I did a performance art a few years ago entitled ’ X Box’, where I stayed in ’Peti Seni’ for 3 days and nights without leaving the space. The idea was about transparency and for the audience to see what I was doing 24 hours a day. I invited a few artists which include my friend Azmi, a jazz saxophone player, Ole Lillelund, a Danish poet, Raja Ahmad Aminullah, Space Gambus, Rahmat Haron and Dayang Mariana to make a performance on the opening night before I continued with my performance staying in the cabin. When the performance was over, I continued talking to the guards and an employee of the Balai Seni who was curious to know what I was doing. So it was very late in the morning before I went to sleep. Around 7.30am in the morning, I was rudely awakened by an employee at Balai who told me to wake up and find somewhere else if I wanted to sleep. He was probably not aware that the act of sleeping is part of the performance and perhaps he was not informed that I was there doing a performance and if he did, then he had no idea about what performance art is. But the manner which he woke me up could have been handled in a much better way. NHK: I feel that Balai should have taken a strong stance when it comes to a decisive moment concerning ‘sensitive’ works already installed in exhibitions. A few cases, for instance, the pulling down of artworks by Izat Arif and Chen Yen Peng during the Bakat Muda showcase in 2013 and recently of Aisyah Baharuddin’s during the KLB in 2017, have not been properly handled by the institution. From my opinion, once the decision to install a particular work has been made by the curators, the institution must have the stand to defend the work on display in respect of artists and curators involved. More dialogues and debates should take place in order to illuminate the strength and relevance of the concerned artwork. Surrendering to mere complaints by the public and
kowtow-ing to demands from ‘above’ will make Balai just another government agency. Balai should be the umbrella that is able to protect the charity of artists. A critical artwork is a seed to grow more interesting dialogues and discourses and to branch out knowledge production. When a scene occurs in an exhibition, hijack the moment to establish a meaningful outcome. WHC: I think I have answered this in the 2nd question. Many artists became victims to this political interference, and the impotence of senior management staff of the gallery to stand up.
Amir Zainorin, Freedom, it is just another word’. a performance art at the Danish Parliment.
Has the Balai Seni Negara been supportive in an artists career and If you were to collaborate as artists, what would your work on the theme of ARTHOPEA be? AZ: I can only speak for myself and I would be lying to say that Balai has not been supportive with my career as an artist, but at the same time, being out of the radar and by being based in Copenhagen I always have to work hard on making myself visible in the local art scene. For ARTHOPEA, I guess it will be a work called’ Freedom, it is just another word’. It is a performance art which I did infront of the Danish Parliment. ( I also have a video documentation for this) NHK: I’d like to recap T.K Sabapathy’s view in his Writing the Modern publication concerning the relationship between artists and institution.
“Collaboration need not necessarily imply co-option; neither need it entail absolute correspondence of aims, ideals, values and procedures. It can, if conducted circumspectly, lead to the cultivation of tolerance and understanding of divergent values and agendas.” My work would be something developed on that basis. WHC: I do not know the curatorial objectives of ARTHOPEA, so I can’t comment.
How can the Balai Seni Negara still remain relevant to the society at large? How do you imagine the art practice, art patronage , and the institutionalization of art to be in the near future? AZ: Balai has to challenge herself by making more exhibitions with works that is expressed by the non-traditional way of making art such as new medias, performance art, video etc. The world is moving fast with just a single touch of a button, so it is also time to slow it down using it. Artists must not be afraid to challenge themselves to do something new or different. Artists have to to find ways where they can work independently without having any outside forces dictating how they should make their art, in another words, they should be free to create. The art patronage and the art institution can play their role by supporting these artists by aquiring the artworks, establish more funds for their art activities and so on. If everyone can start working together to make this change, then we will be able to see a much more interesting artworks coming out from this beloved country, otherwise we will see the same old same old. NHK: Ocassionaly, Balai can organise a post-mortem or a brain-storming session with those related to the eco-system of Malaysian art. Include the idealists and vocal ones to share out their views as well. Complaints or critiques must be taken in a positive light and necessary action should be taken right away. Table rising issues in parliament if need to amend policies for the betterment of artists. I know, it’s easier said than done WHC: Set up a task force or facilitate a symposium/workshop with qualified people from various strands of the art world to review and plot out the objectives and direction. NOTE: The three artists interviewed are currently showing their works at The National Art Gallery. (They can be seen at the National Collection show commemorating the 60 years of Balai Seni Negara named Tekad Enam Dekad -60 years of a Collective will, from the 31 August- 31December 2018 at the National Art Gallery Kuala Lumpur)
60 YEARS
Thrusting Malaysian creatives into the future ROADMAP
LONG TERM
•
• • • •
2040-2050
Continuous assimilation of new technologies by industry
Continuous investment in talent development Continuous international promotion of Malaysia CI Malaysia hosts ASEAN Heritage Science Centre Full adoption of advanced technologies by Galleries, Libraries, Archives and Museums (GLAM); Traditional Arts and Crafts
• • • • • •
D
• •
Continuous opportunities in digital content Entertainment is immersive, inclusive, interactive and participative
2030-2040
• •
Use of new technologies in creative products Internet as future focus of creative content consumption
• • •
Turn talent into jobs Establish training and R&D institutes Increase apprenticeships, mentorships and higher education programmes
•
Identification and development of statistical indicators for data collection
Malaysia CI entrepreneurs proliferate Malaysia becomes international Islamic fashion hub Malaysia becomes supplier of choice of biodiversity footage
Establish National Arts Council Collection of data mandatory Support creative clusters Create incentives for Industry Green architecture guidelines for building and property development Malaysia National History Museum established
SHORT TERM
r i v i n g down
Changes of Creative Industry value chain due to new technologies
• Continuous upgrading of skills to match technological adva ncements
MEDIUM TERM
• • •
•
2020-2030
a
•
narrow
• •
kampung road caked
Industry incorporates Augmented Reality / Virtual Reality, multisensory experience etc into their products Malaysia CI professionals further expand their international reach • • •
in dirt and dust, you find yourself at the studio of an artist. She
• • • • • •
exhibits abroad and her works sell for tens
Update national policy National Creative Industry Policy to match current trends Establish National Promotional Body for Creative Industry Foster and protect Intellectual Property Rights (IPR) Invest in next-generation broadband Invest in talent development Invest in Creative Industry products and services
•
In
2015,
Malaysian
Digitalization of production, dissemination and consumption of creative products
Retrain current work force Develop entrepreneurships Build skills to meet demand of digital creative sectors
contribution
was
RM27.9
and
billion
accounted for 2.66 per
IPR disruptions due to new technologies
cent
Since
2010,
industry generated
decent, if not lucrative, living through the arts. In the kampungs and cities, people are watching indie movies by local filmmakers.
TA L E N T DEVELOPMENT
I M PA C T O F S T I
R&D FOCUS AREAS
CREATIVE INDUSTRY Functional Creations: Built Enviroment; Fashion and Jewellery; Graphic and Advertising Heritage: Galleries, Libraries, Archives and Museums (GLAM); Traditional Arts and Crafts, Media: Audio Visual; Publishing; New Media The Arts: Performing Arts; Visual Arts
Musicians and singers are performing in As the Academy of Sciences Mega Science 3.0 project
the bigger cities, street art can be found
director, she found that the creative industry is the
around
industry of the future.
Arts
festivals
have
the
jobs
and
10,559
establishments,
the has
146,250 which
accounted for one out of 48 jobs in Malaysia. The Gross Value Add (GVA) for the national creative industry is projected to go from 2.66% of the total GVA of the Malaysian
cafes, restaurants and makeshift venues. In corners.
of
Malaysian economy.
She is just one of many INDUSTRY POSITIONING
creative
industry's economic
of thousands of ringgit. artists who have found a way to make a
the
economy in 2015 to 4.8% in 2035.
mushroomed, offering not just a chance for artists to showcase their works but also an
She explains that it will contribute more and more to the
opportunity for public discourse.
national GDP (Gross Domestic Product) in most countries. In the UK, for example, it is one of their big thrusts.
On the surface it looks like a beautiful picture of the proliferation of Malaysian arts, but is enough being done for the creative industry and those who work within it? What will the future be like? Malaysia's
first
astrophysicist
Industry of the future
Professor
“In the last recession, when all other industries saw a
Emeritus Datuk Dr Mazlan Othman two years
downturn, this industry kept growing because it's based
ago led a study looking at the future of
on a different concept altogether,” says Dr Mazlan.
various fields – furniture, automotive, creative,
She explains that the creative industry presents a level
tourism, and plastics and composites.
playing field. All you need is a good idea or the talent and skills to make you successful.
by
BRIGITTE ROZARIO
Professor Emeritus Datuk Dr Mazlan Othman says that the creative industry is the industry of the future.
60 YEARS
Global trend
“Singapore is the top-down model, in which almost all artistic activity is funded and overseen by state institutions. Metrics and KPIs become the sole measurements of success: audience attendance, number of art
Artist Sharon Chin believes Malaysia is
graduates, and contribution to national GDP.
just following a global trend. She says
Meanwhile, that which cannot be measured
that all over the world, contemporary art
loses its value in all but name, including
is now closely associated with rich
mental and spiritual well-being, cultural
elites, free-market capital, corporate
inclusion and diversity, a sense of belonging
interests, and nationalistic agendas.
and commonality, and respect for individual human rights. Artists live with the constant
“In this, Malaysia is no different. The
threat of state persecution – ranging from
highest profile international and local art
withdrawal of funding to the imposition of
events have more to do with property
harsh laws – as well as policing from within
development
their own society,” she explains.
and
diplomatic
trade
agreements, than with ensuring how artists can continue to express their
Another
model
would
be
the
one
culture and serve their communities,”
exemplified by Oaxaca City, in the southwest
she offers.
of Mexico. The city has become a mecca for printmaking. On almost every street corner,
Chin produces installations, sculptures,
there is a studio, gallery or art space. There
drawings, prints, videos, performances,
are
costumes, paintings and other manner
collectives, co-ops, residencies, art fairs and
of art. She believes that the future for
biennials dedicated to the print scene. It is a
Malaysian art can go two ways – the
creative ecosystem that evolved organically,
top-down model or one where art
making it very vibrant. The artists even rally
rapidly proliferates at the grassroots.
together in times of crises.
libraries,
institutions,
workshops,
Portrait of Sharon by Shahril Nizam.
Which model? Former National Art Gallery Chairman Tan
Chin believes it is up to Malaysians to
Sri Kamarul Ariffin has seen Latiff Mohidin's paintings
decide where we're headed and which
go from less than RM1,000 more than 40 years ago to
model we want to adopt. “The future
nearly RM1 million today.
depends on what we do today, and what we do today depends on how we
“In a sense, the prospect for Malaysian art is
view the past. All that matters is what we
very bright. Many local and international buyers look
do now, and that includes looking
for Malaysian art. They know that if they buy it for
honestly at what has brought us to this
RM1,000 they may be able to sell it for RM200,000
point,” she adds.
Anurendra Jegadeva is hopeful about the future of Malaysian art
creative that is judged by any standard to be top
Fellow artist Anurendra Jegadeva is
grade, people will want to acquire it,” says Kamarul.
very hopeful about the future. “As far as
“Over the last decade, the arts – how it is made and received – has been changed completely by the Internet, mobile phones and other new media … It is an amazing and challenging time to be a young artist … That is where our future lies with the dynamism of the young.”
some years later. If you can produce something
the art movement is concerned, I think it always had a strong foundation – an exciting
history,
a
dynamic
contemporary movement, reasonably evolved
institutional,
curatorial
and
educational infrastructures and a pretty decent art market … we just need to continue building on that and the nation’s current climate of openness, transparency and accountability will surely
influence
movement evolves.
Former Director Pn Wairah Marzuki and former Chairman Tan Sri Kamarul Ariffin sharing a moment with guest.
08
the
way
the
art
60 YEARS
Return of the Council? It is indeed a very optimistic outlook, but could the creative industry benefit from a body like an arts council? Countries like England, Australia and even our neighbours down south have such a council, albeit to varying degrees of success and criticism. This is something that has been in the papers lately, with Persatuan Karyawan Malaysia
(Karyawan)
president
Datuk
Freddie Fernandez, Sharifah Amani and singing icon Datuk Seri Siti Nurhaliza calling for a revival of the now defunct Arts
More needs to be done “An arts council would mean an additional layer of bureaucracy, and there's no reason to believe it would be more democratic and functional than the institutions we already have.
Council.
Dr Mazlan concedes there is much to make the country on par with developed nations where the creative industry accounts for more than 14% of the country's GVA. Among the main recommendations of Mega Science 3.0 are the establishment of a centralised promotional body for the creative industry; prioritising talent development; the establishment
of
infrastructure
and
an
ecosystem that supports the industry’s capacity and capability to assimilate new technologies; and making data collection on the industry mandatory.
Furthermore, the needs of the many art The Arts Council of the Federation of
scenes in Malaysia are very different – not
Dr Mazlan thinks that in addition to the revival
Malaya was formed on 15 April 1952. Its
just by discipline, but also by geography.
of the Arts Council, there should be an
purpose was to look into the preservation
One-size-fits-all policies may be not be
umbrella body, much like the Korea Creative
of the local arts and crafts as well as
effective or just. I believe that the strength of
Content Agency (Kocca) which governs
encourage
develop
our art scene lies in its diversity. The question
South Korea's cultural content. Such a body
artistically. It was the council that mooted
is, how do we encourage and nourish this
would look at the promotion of Malaysian arts
the idea of forming the National Art Gallery.
diversity, while ensuring some level of
beyond our borders.
In the early 60s, it even organised
co-ordination and networking? We must all
exhibitions for young local artists. Over the
engage in this conversation. We cannot
Kamarul points out that with any council,
years, as the prominence of the National
leave it to a few people to make decisions on
there should be a clear purpose and
Art Gallery grew, the Arts Council fell by the
our behalf, no matter how good their
mandate.
wayside.
intentions,” explains Chin, who is however in
local
artists
to
favour of reinstating a dedicated Ministry of
“If you have a council and it doesn't really
Not everyone sees the need for an arts
Arts, Culture and Heritage, which existed
know what it's doing, there's no point. It's not
council today. Chin stresses the need to
briefly in the early 2000s but has since
just a matter of creating a council and
understand the problems faced by existing
evolved into the Ministry of Tourism, Arts
bringing people to sit in it when they don't
art institutions (like the National Visual Arts
and Culture.
even understand what they're supposed to
Gallery) and proposing solutions to them
do. That defeats the purpose.
before we can move forward. “Such a council would also need to look at the creative industry as a whole, not just paintings and sculptures; there's also music and literature. There are areas where we have not done so much; music, for example. It's not as advanced as some other countries,” says Kamarul. He asserts that the duties of the Arts Council should
not
overlap
with
those
of
organisations and bodies that already exist. Such
a
council
should
look
into
the
development, quality and marketability of the Photo Instagram@sharifahamani
arts in Malaysia, as well as take our creative products abroad. Imagine a time when people around the world seek out M-pop and M-culture instead of Korean products.
(from left to right) Hassan Abd Muthalib Ng Chor Guan Eddin Khoo Kamil Othman Dato Siti Nurhaliza Jo Kukathas for a discussion about founding an arts council with Council of Eminent Persons.
09
INDUSTRI KREATIF
Usahawan Seni Muda Young Art Entrepreneurs (YAE!) oleh Zu ri ya d i Sa r p in
S
ejajar dengan 60 tahun
Ini memandangkan kebanyakan
penubuhannya, Balai Seni
graduan seni tidak diajar oleh institusi
Negara telah mengorak
pengajian tentang bagaimana untuk
langkah inovatif dengan
meneruskan kelangsungan hidup
menubuhkan Jawatankuasa
setelah menamatkan pengajian
Art-Preneur yang mengumpulkan
mereka. Mereka hanya diajar tentang
pakar di dalam bidang seni,
bagaimana menjadi pelukis yang baik
perniagaan, pelaburan, pemasaran
berdasarkan teori-teori yang sedia ada
dan penjenamaan bagi mewujudkan
namun tidak diajar bagaimana untuk
sebuah program perkembangan
mempersiapkan mental dan fizikal
kerjaya bagi pengkarya seni muda di
mereka bagi meneruskan
Malaysia. Mesyuarat pertama telah
kelangsungan hidup kerana ia bukanlah
diadakan bagi membincangkan hala
keutamaan sesebuah institusi
tuju graduan seni di Malaysia setelah
pengajian apatah lagi bidang
data yang diterima oleh Kementerian
keusahawanan.
Pendidikan Malaysia menunjukkan seramai 2500 graduan seni dihasilkan
Disinilah kelompongan yang dilihat
oleh universiti saban tahun. Dari
oleh Balai Seni Negara dan melalui
jumlah 2500 itu kebanyakan graduan
kajian di beberapa universiti tempatan
seni ini tidak menjadi pelukis ataupun
oleh Cawangan Art Governance
usahawan seni profesional tetapi
mendapati 75% graduan seni tidak
berubah ke bidang pekerjaan bukan
mahu menjadi pelukis sepenuh masa
professional .Situasi ini agak
dan hanya berminat untuk menceburi
membimbangkan.
bidang pekerjaan dan bergaji. Graduan seni ini tidak mahu menjadi pelukis
Justeru itu Balai Seni Negara mengambil peranan untuk membantu graduan seni
digunakan di dalam kajian ini adalah melalui edaran borang kaji selidik dan berjaya mendapatkan data empirikal di beberapa buah IPTA dan IPTS yang menguatkan lagi tujuan penubuhan
muda ini untuk berjaya
program keusahawanan khas kepada
dan hasil pembentangan
juga agak membimbangkan kerana
idea oleh Ketua Pengarah Balai Seni Negara iaitu YBhg. Prof. Dato’ Dr. Mohamed Najib Ahmad
pelajar aliran seni. Revolusi industri 4.0 kebergantungan kepada tenaga kerja manusia akan berkurangan. Segalanya akan diambil alih oleh teknologi dan robot dan ini akan memberi impak negatif kepada pengeluaran tenaga kerja manusia. Balai Seni Negara pula melihat Revolusi Industri 4.0 ini sebagai
Dawa maka tertubuhlah
peluang terbaik bidang seni
sebuah program yang
sememangnya hak mutlak manusia.
diberi nama “Young Art
Tiada mana-mana teknologi mampu
Entrepreneurs (YAE!)
10
mahupun usahawan seni. Method yang
memandangkan daya kreativiti
menggantikan daya kreativiti manusia itu sendiri.
Data Jualan Industri Seni Visual 2016 - 2018 NO
PERKARA
2016 (Bermula Jun)
2017
2018 (Sehingga Julai)
1
Jualan Karya Galeri Swasta
RM 8,721,371
RM 20,654,396.70
RM 9.57 juta
Jumlah Pelukis:
547 pelukis
2135 pelukis
569 orang
Jumlah Pameran:
166 pameran
315 pameran
116 pameran
Jualan Art Auction dari 5 buah
RM16,003,058
RM 14,119,600
RM 5,788,515.55
2
Auction House • KL Lifestyle Art Space • Masterpieces Malaysia • The Edge Gallery • Henry Butcher • Younie’s Auction 3
Jualan ‘Art Expo Malaysia’
17,000,000.00
18,900,000.00
-
4
Jualan Creative Space
RM 83,212.00
RM 153,100.00
RM 25,600.00
(Balai Seni Negara)
Program Young Art Entrepreneurs (YAE!) ini dibuka khas
Kita lihat data statistik pergerakan industri seni di
Penganjuran program YAE! ini
kepada 12 orang peserta bagi setiap sesi yang akan
Malaysia dari tahun 2016 hingga 2018 ini sebagai
sedikit sebanyak telah membantu
mengambil masa selama empat bulan bagi melengkapkan
satu bentuk ‘dashboard’ bagaimana sebenarnya
pengkarya seni mengubah
diri menjadi seorang usahawan seni yang berdaya saing.
industri seni ini bergerak sebagai komoditi
mentaliti pelukis dan berani
Setiap peserta akan dibekalkan dengan kelengkapan studio
penting yang menyumbang kepada ekonomi
menceburi bidang keusahawanan
dan mini galeri di Art Depot, Balai Seni Negara. Program ini
negara.
seiring dengan motto Monetizing Culture (Penguwangan Budaya)
merupakan platform terbaharu yang disediakan oleh Balai Seni Negara kepada pengkarya seni muda tanah air. Peserta
Melalui data diatas kita dapati hasil jualan seni di
yang diperkenalkan oleh YBhg.
akan dibantu membina business networking, business
Malaysia sebenarnya berada di tahap yang baik,
Prof. Dato’ Dr. Mohamed Najib
pitching, menghasilkan business-plan, curatorial talk /
apa yang membezakan adalah strategi
Ahmad Dawa, Ketua Pengarah
review, business proposal, program residensi antarabangsa,
perniagaan dan pemasaran masing-masing.
Balai Seni Negara. Ini dikuatkan lagi
pendaftaran syarikat di Suruhanjaya Syarikat Malaysia (SSM),
Kajian pasaran yang dijalankan oleh Cawangan
dengan data pendapatan peserta
lawatan ke studio pelukis, membina profil, mengadakan
Art Governance ini amat penting bagi membantu
YAE! sesi pertama yang diambil
kolaborasi dengan syarikat besar, menganjurkan acara seni
semua pihak melihat secara langsung
dari Julai 2017 sehingga Julai 2018
seperti Creative Carnival, menganjurkan Art talk / Bicara
sumbangan bidang seni ini kepada
adalah sebanyak RM192,514.00 dan
Seni, mendapat peluang mendengar sendiri pengalaman
perkembangan ekonomi negara, sekaligus
peserta YAE! sesi kedua pula
dari usahawan yang berjaya secara langsung dan yang
mewujudkan ekosistem yang baik dalam dunia
sepanjang 4 bulan program dari
paling utama adalah psetiap peserta berpeluang
seni itu sendiri.
Februari 2018 hingga Jun 2018 (tempoh program) berjaya
berpameran di Balai Seni Negara. Inilah yang membezakan YAE! dengan program-program keusahawanan lainnya
Sebagai permulaan kumpulan pertama (Pilot
mendapat RM58,112.00. setiap data
dimana kebanyakan program ini hanya diajar secara teori
Project) peserta yang diterima adalah seramai 7
akan dikemaskini selama 2 tahun
bagaimanakah untuk menguruskan perniagaan dan bukan
orang dimana 5 orang daripada mereka
setelah peserta selesai menjalani
secara hands-on.
mendapat pendidikan di Universiti Teknologi
program YAE! sebagai salah satu
MARA (UiTM) manakala dua dari mereka
syarat utama. Ini bagi memudahkan
Kesukaran meneruskan kehidupan dengan hasil jualan
mendapat pendidikan di peringkat diploma dari
Balai Seni Negara melihat
lukisan yang adakalanya tidak memberangsangkan
Malaysian Institute of Art (MIA). Ketujuh-tujuh
perkembangan perniagaan mereka
menjadikan pelukis dilihat seakan masyarakat kelas ketiga di
orang peserta ini dipilih dari 23 permohonan
dan pendapat mereka itu nanti.
dalam negara. Ramai pelukis di Malaysia yang terdiri dari
sekaligus diumpamakan sebagai makmal
golongan B40 dimana pendapatan isi rumah berada pada
bergerak bagi melihat sejauh manakah
Selain itu, 7 orang peserta pertama
paras kemiskinan. Tidak semua pelukis bertuah dan mampu
keberkesanan program keusahawanan ini.
YAE! juga berjaya mendapat
menjual karya mereka dengan mudah. Apa yang diperlukan
Biarpun mereka diajar, dididik dan dibiayai
penajaan dari ECM-Libra
adalah strategi yang tepat kerana mereka ini mempunyai
sepenuhnya oleh Balai Seni Negara dengan
Foundation sebanyak
bakat seni dan kemahiran tersendiri. Disaat pelukis ini sukar
ilmu-ilmu keusahawanan dan pengucapan
RM108,600.00 dan mereka telah
menjual karya ada pihak di luar sana yang melihat potensi
awam sepanjang enam (6) bulan, namun bidang
pergi ke Carriden House, Bo’ness,
mereka ini boleh dieksploitasikan sebagai satu bentuk
seni yang merupakan forte mereka ini tidak
West Lothian, Edinburgh Scotland,
komoditi dan meraih untung secara maksima.
sama sekali dilupakan. Seterusnya Balai Seni
Studio Grafis Mingggiran, Jogjakarta
Negara mengambil pula 12 orang peserta bagi
Indonesia, The Untitled, Shanghai
sesi kedua yang terdiri dari graduan seni dari
China dan Berlin Art Institute,
universiti tempatan dan juga luar negara dan kini
Germany manakala 3 lagi peserta
Balai Seni Negara keseluruhannya telah berjaya
akan berangkat pada September
menghasilkan seramai 31 orang usahawan seni
2018 ke Thailand dan Indonesia.
melalui tiga (3) siri program YAE! ini. Dari 31
Terima kasih diucapkan kepada
orang ini, seorang peserta merupakan pelukis
pihak penaja YAE! ini sama ada
antarabangsa dari negara Taiwan yang
secara langsung atau tidak
mendapat tajaan dari Taipei Economic and
langsung seperti ECM Libra
Cultural Office in Malaysia (TECO). Ini sekaligus
Foundation, Yayasan Hasanah,
membuka mata semua pihak akan
Symphony by Chef Jo,
keberkesanan program YAE! yang dijalankan
AngsanaCare, Sifu Branding,
sepenuhnya oleh Balai Seni Negara.
EuGrow Sdn. Bhd. dan lain-lain.
11
INDUSTRI KREATIF
Resolusi Dari Simposium Antarabangsa
ART, CRAFT & DESIGN IN SOUTHEAST ASIA
Oleh Dr Mumtaz Mokhtar
ARCADESA#1
telah
berlangsung
pada
16
November 2017di Institut Seni Indonesia (ISI) manakala ARCADESA#2 telah berlangsung pada 26 Jun 2018 di Balai Seni Negara (BSN) anjuran bersama Fakulti Seni Lukis & Seni Reka, UiTM dan BSN.
berada dalam lingkungan yang tersendiri. Pelukis atau seniman dengan karya seninya, penggiat kraf dengan hasil krafnya dan pereka dengan dunia rekaan mereka. Malangnya pengasingan ini menjadi-jadi bila setiap dari mereka lahir
daripada didikan dan latihan yang lebih spesifik ditambah lagi dengan kelayakan formal yang mereka perolehi. Pengasingan seni dan kraf berlaku sejak zaman penjajahan dan kemasukan seni moden dikebanyakan negara-negara Asia Tenggara termasuk di Malaysia sekitar 1930an
Perkataan ‘ARCADESA’ berasal daripada bahasa Inggeris yang menggabungkan perkataan Art, Craft, Design dan Southeast Asia. Ringkasnya ia adalah
S
eni, kraf dan senireka biasanya diasing-asingkan malah penggiatnya juga
berkenaan
perbincangan
ketiga-tiga
perkara iaitu seni, kraf dan senireka di peringkat Asia Tenggara. ARCADESA seterusnya menjadi satu akronim yang sesuai diterima pakai oleh seluruh
negara-negara
yang
terlibat.
ARCADESA#3 akan diadakan di Thailand pada sekitar bulan Mac 2019 di Universiti Silpakorn, Thailand.
Simposium
ini
dianggap
antara
simposium yang aktif kerana dijalankan pada setiap selang setahun. Terdahulu, penceramah jemputan merupakan ahli akademik dari Thailand, Indonesia, Singapura dan Malaysia. Kedua-dua simposium
juga
telah
berjaya
menerbitkan
Prosiding masing-masing iaitu dari Indonesia dan Malaysia. Kupasan penulisan lengkap untuk kedua-dua persidangan boleh diperolehi dari Prosiding
ARCADESA#1
dan
Prosiding
ARCADESA#2 berikut; Prosiding ARCADESA#1 oleh Yulriawan Dafri & Yulyta Kodrat (Eds.), (2017). Proceedings, International Symposium Art Craft & Design in Southeast Asia: In The era of Creative Industry 2017, Indonesia: BY, ISI Yogyakarta.
seterusnya mempengaruhi perkembangan seni, budaya dan ketamadunan negara kita. Pereka
grafik
menghasilkan
catan
yang cat
air
untuk illustrasi kulit buku agak sukar untuk memutuskan sama ada
karyanya
adalah
catan
ataupun illustrasi. Pereka fesyen yang
menjahit
pakaian
berdasarkan rekaannya sendiri juga amat sukar menyatakan ia suatu karya fesyen mahupun kraf Tambahan, pelajar-pelajar senireka biasanya menganggap
Seni, Kraf dan Senireka dalamkonteks proses dan hasil dihubungkaitkan dengan prinsip estetika Melayu Zakaria Ali (Mumtaz, 2017)
perkembangan idea untuk rekaannya perlu mempunyai ciri komersial yang tinggi sedangkan banyak industri automotif mahupun senireka produk di peringkat unggul menghasilkan satu karya master piece dan dipamerkan di galeri syarikat berkenaan sebagai konsep rekaan masa hadapan. Seni, kraf dan rekaan melibatkan kedua-dua aspek iaitu proses dan hasilnya. Proses melibatkan manifestasi, transformasi dan ekspressi oleh pembuat kemudian difahami, dirungkaikan dan diserap oleh pemerhati atau penghayat. Manakala hasil seni, kraf atau rekaan itu pula merupakan bentuk, gaya, bahan yang digubah, subjek dan makna serta fungsi yang terdapat pada seni tersebut. Jika merujuk kepada konsep seni Melayu, ketiga-tiga perkara iaitu seni, kraf dan rekaan amat berkait dan bersifat inklusif. Contohnya Songket iaitu satu bentuk seni yang amat tinggi nilai estetika, bukan sahaja bentuk dan maknanya malahan fungsi dan ketinggian kemahiran pembuatnya (craftsmanship). Jika merujuk prinsip Zakaria Ali keenam-enam prinsip estetika Melayu iaitu berhalus, berguna, bersatu, bersimbol, kontra dan bermakna jelas kelihatan dalam penciptaan songket. Kerangka kefahaman seni, kraf dan senireka jika dikaitkan dengan nilai estetika Melayu adalah seperti berikut;
INDUSTRI KREATIF
Ledakan seni moden perlu diperhalusi dan
Untuk menghadapi cabaran revolusi Industri
Persoalan - Adakah kita perlu mengekal
semakan
Tenggara
4.0, ARCADESA#2, Prof. Dr Ghazali Daimin
karya tempatan? atau Adakah kita perlu
dilakukan.
dari
isu
berubah? juga merupakan perbincangan yang
hala
terutamanya
tuju
seni
Malaysia
Asia perlu
Malaysia
telah
menyentuh
Sekurang-kurangnya memikirkan bagaimana seni
mempertingkatkan
pembangunan
menarik. Dr Veewarat Sirivesmas dari Thailand
tempatan mampu bertahan dan bersifat global.
kurikulum kursus seni agar sejajar dengan
merumuskan bahawa dari aspek akademik dan
Merujuk
soal
Kreatif,
keperluan hari ini. Elemen internet of things
falsafah banyak teori dan rasional boleh
penyelidik di ARCASDESA#1 telah menggariskan
sangat diperlukan dalam proses pemasaran
diterima pakai untuk mengekalkannya. Namun
beberapa perkara yang perlu diambil perhatian
dan pengiklanan. Lihat sahaja di media sosial
cabaran dunia komersial adalah sebaliknya.
seperti ;
di
Mahu atau tidak mahu perubahan yang lebih
kepada
cabaran
Industri
i. Mengembangkan potensi kekayaan budaya,
mana
kebanyakan
selebriti
telah
menunjukkan inisiatif yang agresif dalam
dinamik
memasarkan
masing-masing.
kemahiran tangan dan keperlbagaian teknologi
produk
sangat
diperlukan.
Kepelbagaian
Peranan pereka grafik dan jurufoto kini
perlu seiring. Oleh itu ia memerlukan model
ii. Eksplorasi teknologi dan impak media sosial.
seolah-olah diambil alih oleh usahawan
yang
iii. Memberi nilai tambah kepada aspek
sendiri
menterjemah penghasilan karya-karya seni
bangsa dan masyarakat tempatan
kreativiti seperti fungsi dan mutu buatan iv. Menitikberatkan elemen sains, teknologi dan
yang menggunakan strategi yang
lebih kos efektif seperti menjadi model bagi dan laman web sendiri.
identiti dan bahan tempatan
C
antarabangsa vi. Kerjasama semua negara-negara Asia Tenggara Jelasnya, seniman dan senireka perlu berganjak sedikit dan melangkaui ketiga-tiga aspek seni, kraf dan rekaan agar penghasilan karya tempatan lebih baik, komprehensif dan istimewa. Aplikasi karya Siti Zainon ke dalam rekaan kraf meningkatkan lagi kompetensi pengkomersilan produk tempatan ke status yang baharu. Hasil tangan pereka tekstil dan fesyen tempatan di bawah Kraftangan Malaysia bersama Zandra Rhodes juga membawa karya batik Malaysia ke peragaan Fesyen London menjadikan seni tanahair melonjak ke peringkat antarabangsa. Beberapa karya media baharu dalam kalangan seniman juga menunjukkan prestasi yang sangat menarik bila sebahagian dari karya KL Bienalle 2018 terdiri dari beberapa karya media baharu dan bersifat lebih kontemporari.
untuk
membaca
dan
masa kini.
produk sendiri dan membangunkan bahan
inovasi dalam masa yang sama mengekal v. Sokongan kerajaan ke peringkat
baharu
Kita tidak pernah menjangkakan adanya perkhidmatan
Uber atau Grab yang hampir
ara dan gerak kerja seniman dan
melenyapkan perkhidmatan teksi di Malaysia.
pereka kini perlu lebih proaktif. Dr.
Generasi kini boleh memilih jenis kereta,
Yulriaawan Dafri dari ISI, Indonesia
pemandu dan jelas kadar yang akan dibayar.
menggagaskan
bahawa
seni
itu
perlu
Keadaan ini semakin menghampiri dunia seni
dihasilkan dengan kata kunci ‘co-creation’dan
hari
‘co-working’.
koloberasi
menghasilkan karya sendiri, menghantar karya
praktikal
Bukan
malahan
sahaja
melibatkan
ini
di
mana
masyarakat
boleh
koloberasi
secara online untuk dicetak pada pakaian dan
secara maya. Secara tidak langsung setting
cetakan siap akan terus dihantar ke rumah.
penghasilan karya seni menjadi lebih besar.
Namun,
Prof
Madya
Ramlan
Abdullah
menunjukkan inisiatif yang perlu dicontohi bila Keadaan terasing atau kerja mengikut bidang
menghasilkan karya seni arca yang melibatkan
pengkhususan akan berubah menjadi gaya
banyak
kerja berasaskan-komuniti. Oleh itu, cabaran
menjejaskan
yang bakal dihadapi dalam prosedur cara
Dengan mengangkat prinsip artist German iaitu
kerja sebegini akan melibatkan isu bahasa,
Joseph BEAUYS yang mengatakan Every one is
simbol, kod-kod estetik, tradisi, gaya dan nilai
an Artist Prof. Madya Ramlan berkoloberasi
setiap negara. Namun hal inilah yang perlu
dengan pelajar, rakan seniman, jurutera dan
difikirkan bagi memastikan perkembangan
arkitek. Koloberasi yang sihat ini menghasilkan
seni, kraf dan rekaan negara Asia Tenggara
penghayatan seni arca umum lebih siknifikan
terus maju dan berdaya saing dengan
kerana dibangunkan bersama-sama.
individu
yang
prestijnya
terlibat sebagai
tanpa seniman.
negara-negara maju yang lain.
Selain dari empat resolusi dari kesemua penceramah jemputan di atas, penyelidik di pascasiswazah
mencadangkan
Credit photo@pancangstudio
kalangan
beberapa resolusi tambahan iaitu; i. Mempertingkatkan kualiti persepsi pengguna ii. Pembuatan berkonsepkan zero-waste dan smart-manufacturing iii. Meningkatkan komunikasi digital dan berasaskan teknologi iv. Teknologi muzium secara maya (Virtual
Arca Sun-Dial di Langkawi oleh Ramlan Abdullah
Oleh itu apapun hasil seni, kraf dan rekaan
Musuem Technology) v. Meningkatkan inovasi dalam seni, kraf
perlu menitik beratkan kesan perkembangan masyarakat yang lebih holistik. Seniman,
dan senireka
karyawan
Proceedings, International Symposium Art Craft & Design in Southeast Asia: Facing the Challenges of 4th Revolution Industrial Revolution, Malaysia: UiTM & Balai Seni Negara.
pereka
juga
perlu
mempersiapkan diri dengan kualiti yang
menghadapi cabaran Revolusi Industri 4.0,
terbaik agar ekosistem penghasilan seni
ungkapan perasmi persidangan iaitu Dato’ Dr
berlaku dengan sihat. Persoalan di manakah
Ahmad
cantiknya bunga? Adakah terletak pada
keghairahan
membahaskan
Zainuddin,
Pengerusi
Majlis
Rekabentuk Malaysia (MRM) amat penting
kelopak,
berkenaan Society 5.0
pencipta yang menciptakannya?
Society Prosiding ARCADESA#2 oleh Mumtaz Mokhtar (Chief Ed.), (2018).
dan
isu
Dalam
5.0
adalah
model
transformasi
masyarakat untuk negara Jepun. Ia merujuk kepada Super Smart Society. Merujuk kepada laman web Cabinet Office, Jepun, Super Smart
Society
berpusatkan mengimbangi mampu
adalah
individu kemajuan
menyelesaikan
masyarakat
yang
mampu
ekonomi masalah
dan sosial
berteraskan intergrasi ruang siber dan ruang fizikal dengan baik.
kuntum,
warna
atau
indahnya
Setiap karya seni, kraf mahupun rekaan akan tinggi nilainya jika seniman dan karyawan itu sendiri adalah permata yang bersinar dan menyinari.
PEDAGOGY
by Linus Chong
F
rom the grunts of my one year
To conclude I need to bring out an
old, Theodore, who is still trying
important note that in our typical Asian
his best to express what he
mindset, science and core academic
wants with his limited vocal
subjects still take the forefront of a
purple of course!” “Is it a rainbow elephant? ” I
capability, to watching my three year old,
parent’s emphasis and even if art is
will add making a shocked look. My 5 year old
Yasmin, making a Picasso with his dinner, to
included, it is often as an afterthought
child will laugh loudly.
watching my five year old, Linne, who is
and it’s often misunderstood.
“What should we colour this linne?” I ask pointing to the outline of an elephant. She answers
in
“green,orange,
her
most
exuberant
yellow,red,blue
and
voice some
starting to make tangible imageries with My name is Linus Chung and I am a filmmaker
planned lines and shapes instead of just
by profession. I have three kids and this my
random scribbles. It’s all very entertaining and
humble sharing on teaching my kids art. We are
insightful to me, as I reflect upon my own
veering away from traditional schooling. How
journey in art, the process of experimentation,
do I teach my children ‘art’? How well do I even
setbacks, challenges and discovery.
understand the meaning of that word? Art is a subject that spans the entire human history. My name is Linus Chung and I am a filmmaker by profession. I have three kids and this my humble sharing on teaching my kids art. We are veering away from traditional schooling. How do I teach my children ‘art’? How well do I even understand the meaning of that word? Art is a subject that spans the entire human history. It’s not so much of just providing our child with Expression is inherent in every one of us. It’s
an art education but to provide them an
actually quite a joy to watch how expression
access to educating themselves and to learn
manifest and progress from a new-born baby’s
with them because in the freedom of a young
first twitch of his barely articulated fingers to
flourishing mind, there is to discover much
when he becomes a fully functional adult.
wonder, that we may have lost growing up. In spite of the importance of freedom of thought, I sometimes see adults who keep telling their children that this is wrong and that is wrong, with the intent of quickly shaping them to fit into society. Should you use a rudimentary standard of what is right and what is wrong in shaping a child’s artistic journey? In my mind, I think the answers lies in letting the child be an equal partner in the process of learning and to not look at a child as being someone inferior.
14
I believe art should be as high on the pedestal as it encourages creativity which charts a path to wonder and completes a person’s understanding of the world. A child lacks the prejudgement that often locks us adults into just doing the norm that is acceptable by society so to teach them art at this stage I believe would be most apt. I cannot imagine a rainbow elephant but now thanks to my child, I can.
REVIEW
First, And Last Impressions, of the
Kuala Lumpur Biennale 2017 by S h y a n a k a A r t K L - i t i q u e
I
visited the Balai Seni Negara 3 times in 3 months, during the inaugural Kuala Lumpur Biennale (KLB). For my first visit,
one usher prompted me to register as a visitor by pen on paper, but I was not asked to register in subsequent visits. This international visual art event, promoted by the Malaysian Ministry of Tourism, announced a target of 250,000 domestic and international visitors. Unofficial figures estimate the final number at close to 175,000 visitors, but with the KLB 2017 Secretariat now disbanded without a
Without a program booklet, coupled with a
summary report, the public will never know if
lousy website and generic social media
the event achieved any of its initial objectives.
postings, there is little information available for visitors to navigate KLB 2017. This
Such news is an inauspicious one to close the
situation poses a disservice to both
event, yet the opening of the event fared no
organizer and participants. Despite its
better (more on that later). In my November
lengthy list of sponsors and partners, it
visit, the elevators were undergoing
appears that this four-months-long event is
refurbishment, two galleries were closed, and
under-budgeted. Stories from the
the open galleries had different exhibits than Note: This essay is composed from snippets
grapevine peg the event’s budget at less
what I saw during my final visit in February. As
on artklitique.blogspot.com posted between
than 0.8% of the amount collected for
a Malaysian art enthusiast who has visited
24 November 2017 and 22 April 2018, then
Tabung Harapan to-date, a paltry sum for
many exhibitions at the Balai Seni Negara (the
submitted to Senikini editors on 16 August
all intents and purposes. No curatorial
institution is more affectionately known as
2018. Putting together a single 2200-words
writings were produced (although a
Balai), this sluggish lack of readiness is
essay from 9 blog posts in 2 weeks is difficult;
full-colour catalogue was published), few
biasa-lah, but this experience will present a
If 3 curators can cull then exhibit works from
auxiliary events were organized, and new
shock to those who have attended more
114 artists for the KL Biennale – hey, who am I
artwork commissions were minimal. The
professionally-run art biennales held in other
to complain that this assignment is
last observation presents a shocking
countries. At least the galleries are free, and
challenging?
revelation: a biennial is typically defined as
fully air-conditioned.
a mega-exhibition of contemporary art!
15
REVIEW
L
ooking at the other art on display, there are several exhibits worth spending
considerable time with. Among the five Cerita Belas, two stand out for its The first time I heard about KLB 2017 was
successful projections of community
after visiting the “Retro Biennale” exhibition
engagements, where attractive visuals
in December 2016, which showcased
draw viewers’ attention towards
Malaysian artists who participated in
meaningful initiatives. ‘Sebaris Senyuman
previous international biennales. Tracking
Indah’ at Galeri 2B is a collection of
the genesis of the KLB 2017 theme Belas
household items and photographs, which
more than a year later, I encounter a minor
documents livelihood at a Penan
account about how the inaugural Kuala
community. In the video ‘Thank You Mr.
Lumpur Biennale came about in the first
Tan’, a former student narrates the
place. In late 2016, Hasnul Jamal Saidon
contributions by artist Tan Wei Kheng to
(together with Balai) initiated the outreach
her locale. The acknowledgement is
program “gemaBELAS”, which noble
heartfelt, and one assumes that Wei
intentions included “Belas can contribute in
Kheng’s committed engagement
exploring the healing potentials of creative
contributes to his stunning painted
practice.” A follow-up event titled “KL
portraits of indigenous people, environs,
Belas” was on the cards, but the plan was
and objects.
Galeri Tun Razak ranks as the
unceremoniously hijacked and turned into
second-best display on show at KLB
one “KL Biennale”.
2017, which exhibits feature social collaborations, modern masterpieces,
This uneasy transfer and sideways expansion
interactive zones, spectacular paintings,
of a concept, manifest clearly within the
environmental awareness, multimedia
demarcation of exhibition spaces, but criticism
installations, and meditative portraits.
of the theme (and its five sub-themes) itself is unwarranted. Cynics deride Belas as fatuously
Another enriching exhibit is ‘Kanou Moung
sanguine and bereft of ideology, but one just
Hilo Bawang’ (‘Let’s Go to The River’ in
needs to look across the causeway for
Dusun), which depicts efforts to improve
examples of single-word non-lofty biennale
the condition of Sungai Moroli. From the
themes. The inaugural Singapore Biennale
displays, I learn that Tagal is a practice to
2006 deployed the theme Belief, which is a
stop fishing activities and promote marine
simpler concept as compared to the An Atlas
biodiversity, that has since contributed to
of Mirrors, the confounding theme used for its
new eco-tourism activities along river
2016 edition.
streams in Ranau. Bubble-shaped depictions by Jerome Manjat, overlay a
Perhaps, the KLB 2017 organizers did
background of sinuous forms by Long
themselves no favours, by not even trying to
Thien Shih, who also facilitated (with Steve
highlight or justify the selected biennale theme.
Lai Chan Shiang) the creation of two
Cerita Belas – room-sized exhibitions that stem
woodcut prints relating to this topic, that
from collaborations with non-artists, and
was executed together by students and
highlight acts of empathy – should be
teachers from SMK Bandar Baru Sentul.
signposted as salient points of visit due to its
16
One must travel a significant distance (and dwell among books), to appreciate the best exhibition display. Among biennale locations outside of
function as central expressions of the biennale
Many individual artworks fit well with the
Balai, I could not locate Siti Zainon
theme. However, even during my final visit, it
Belas Alam theme – Fauzan Omar’s leaves
Ismail’s ‘Rumah Waris Uwan’ within
was unclear to me which displays qualify as
on burnt plywood, a lush forest acrylic
Kampung Bandar Dalam, and missed
Cerita Belas segments. I assumed the
painting by Johan Marjonid, stunning
Jeganathan Ramachandram’s work at
installation “Cracks in the Wall” was a Cerita
ceramic seeds by Mohamad Rizal Salleh,
the Perpustakaan Negara Malaysia
Belas, but its display falls under the biennale
Krisna Murti’s meditative two-channel
because I only found out about the
sub-theme Belas Warisan, a curious attribution
video about silat practitioners, one
display in March. A program booklet, or
given that Leon Leong Wai Pung’s art project
absorbing wall of monochromatic
directions provided online, would have
memorializes demolished public housing.
amorphous forms by Tetriana Ahmed
helped. Nonetheless, I did visit Universiti
Fauzi, and Hamidi Abdul Hadi’s resin
Malaya’s Piyadasa Gallery twice,
With its striking turquoise walls, the open-top
creation that recalls a mid-afternoon
primarily to view Niranjan Rajah’s ‘The
gallery space also proved to be the most
observation of water spots on arid ground
Gift of Knowledge: An Installation
Instagram-friendly spot among all KLB 2017
– all project impressive technique coupled
Commemorating the Person and Work of
exhibition locations.
with uncanny aesthetic sensibilities.
Durai Raja Singam (1904 – 1995)’.
Durai Singam – who is the artist’s uncle – was
Such observations denote curatorial
This continues an unsettling
not an academic scholar, yet his approach in
missteps, yet despite the uneven output, one
recurrence of (self-)censorship events
putting together these biographical materials
is hesitant to single out any curator for praise
at the Balai, where a similar debacle
is methodical and rigorous. These self-funded
or criticism. The curatorial team is led by
over works by Samsudin Luppo,
publications are printed on art paper then
Zulkifli Yusoff, who is a well-regarded artist
Samsudin Wahab, and Pangrok Sulap,
bounded in hard covers, and effectively read
but does not possess significant curatorial
have took place at the same institution
like limited-edition super-charged zines. The
experience. I learned that the 3 named
in recent months. Post-GE14, will the
quirky design choices in each page is
curators were given six months – a
departure of the chairman of the
wonderful, for example – a photograph, an
ridiculously short timeframe – to put together
National Visual Arts Development
illustration, a musing, plus multiple typefaces,
this event. Fortunately, the couple of inspiring
Board – who is the former Prime
all squeezed onto a single page – to hell with
Cerita Belas installations, and the many
Minister Najib’s communication advisor
sterile book design! ‘The Gift of Knowledge’
high-quality artworks displayed, contribute to
– stop future censorship events from
astonishes with its physical evidence, about
a presentable – enjoyable, even – exhibition
happening? My guess is no, because
what it takes to pursue a vocation in studying
walkthroughs. Given the lack of official
accountability is a trait of an
and documenting one topic of interest. As one
documentation, one can search for “KL
organization’s members, and not just
who writes about my personal passion, it is
Biennale 2017” videos on YouTube, which
the burden of its leaders. Simply put,
deeply moving to read a sentence like “(t)his
offers a glimpse into what a public audience
Balai’s staff need to stand up for the
work is not meant for a publisher who may
find interesting about this event.
artists they work with.
judge a work by academic standards or profit. It is a one-man edition, written and typeset with
Although there are more visitors than
devotion and pleasure.”
usual to the Balai Seni Negara, any proclamations that this biennale is a
Back at Balai
success, will sound like a bureaucratic
several galleries present incoherent
and empty achievement. Although
walkthroughs, due to deficiencies in the
plans are afoot to stage the second
arrangement of exhibits, or an unconducive plan
edition in 2019, I am reluctant to see
layout. The cavernous Galeri 3A showcases the
The lack of published writings would have
another Kuala Lumpur Biennale take
biennale theme Belas Kerohanian, which
been my biggest bugbear about the KLB
place, not until the organizers project
collection can be mistaken for an imaginary show
2017, if not for the (self-)censorship debacle
gestures representing Belas. With the
titled “Malaysian Geometric Abstracts, and a
that arose from the installation of Pusat
KLB 2017 Secretariat already
couple pieces that don’t fit”. Hayati Mokhtar’s
Sekitar Seni’s “Under Construction”. One day
disbanded, one cannot even hope for
installation featuring images of schoolchildren
before the inauspicious event’s official
an apology
and non-functioning speakers, is truly a
opening, news portal The Malaysian Insight
.
head-scratching inclusion here.
reported that the artist collective has chosen
On the bright side, I sense that organizing a relatively large-scale event, has injected Balai with a degree of confidence.
to cover the work in black netting, due to the Downstairs, wall partitions demarcate the
removal of certain components from the
second-floor galleries into small display areas,
installation by unspecified authorities. A
where sharp turns connecting adjacent spaces
police investigation pertaining to this matter
make for a narrow viewing experience. The
was opened, and to-date there has been no
juxtaposition of heroic sculptures by Raja
news, and no closure to these events. What
Shahriman Raja Aziddin, with paintings of
was the exact complaint about? Why remove
indigenous motifs by Kelvin Chap Kok Leong,
only parts of the exhibit, and continue
implies suppression in the national consciousness,
displaying the concealed work for the
despite the wall statement proposing otherwise.
biennale’s run?
If the preparation timeline is stretched out, and the committee can work more closely with the local art ecosystem,
Mohamad Ismadi Sallehudin’s monumental wooden collage of a Malaysian flag, casts a
Here, it is the organizer’s inaction that is most
sinister light on neighbouring works by Sabah &
damning. Displaying typos on artwork
Sarawak-born artist, including a Anniketyni
signages is one thing; Displaying no
Madian construct, that came from the KLB 2017
accountability for exhibits at one’s premises,
organizing chairman’s collection.
is another.
perhaps some goodwill can be restored. Perhaps, even the theme Belas can be preserved - being told that you are loved, when you are not? Sounds like a very Malaysian predicament, indeed.
“Cakap terus-terang je la ya. Sebab kita ni sakit! dan selalunya suka sgt 'cari penyakit' (termasuk yg tulis ni). Ya, sebab tahap kesihatan mental kita kritikal walaupun ramai taknak mengaku. Ada yg suka tunding pd org lain, atau hanya pandai komen, ulas, membahan, men'spin' dan viralkan kes2 mental tak sihat ni saja, selalunya dari satu sumber saja dan tanpa usul periksa. Masalah kesihatan mental menyerang semua org tanpa mengira label di dahi - budak2, org2 muda, tua, org seni, org sains, ahli2 politik, org2 yg mengaku alim, pemimpin, pendidik, pelajar universiti, dll. Kita semua amat perlu 'saling-menyembuh', sekarang, setiap sekarang. Belas itu menyembuh. Belasah itu membunuh. Ihsan dan memaafkan itu menyembuh. Jomla gemakan belas, bukan belasah. Moga kita semua sejahtera dlm dakapan kasih dan belas. Sentiasa osem, anda semua!” – Blog post addressing “Kenapa #gemabelas2017?” by Hasnul Jamal Saidon, dated 4th June 2017
START UP STORIES
Kemajuan dan kelestarian semangat saya Pengalaman pertama adalah apabila saya memulakan perniagaan dalam talian dengan menjual hasil-hasil karya kecil untuk menampung kos gerai di Fiesta Komik. Hasilnya adalah di luar dugaan yang mana saya memperoleh rezeki luar jangkaan. Bermula dari situ, saya telah meneruskan perniagaan tersebut. Pada tahun 2014, ketika di Tingkatan 5, saya telah menceburi bidang perniagaan dalam talian. Perniagaan tersebut telah beroperasi lebih kurang 4 tahun. Dahulunya saya hanya terlibat dengan gerai seni di Malaysia. Kini, saya turut menyertai konvensyen seni di Singapura. Selepas menamatkan pengajian di kolej seni, saya bercadang untuk membuka gerai seni di negara-negara luar lain seperti Indonesia, Australia dan Amerika Syarikat. Kejayaan rakan-rakan yang berkecimpung dalam perniagaan yang sama telah mendorong saya untuk mengatur langkah yang lebih jauh lagi. Mereka telah membangkitkan inspirasi untuk meraih kejayaan yang sama.
KHUDEEJUH Sebagai pelajar di kolej seni, saya menyedari keperluan untuk membangunkan idea-idea baru dan mempertajamkan teknik skil seni.
P
ada umur 21 tahun, Khadijah binti Mohammmad Khatib telah menzahirkan minatnya
Ini telah mencetuskan dorongan kepada saya
dalam bidang seni seawal usia 4 tahun.
supaya terus gigih berusaha untuk
Beliau mula didedahkan dengan seni
menampilkan hasil karya yang tersendiri
apabila kedua ibubapanya sering
kualitinya. Walaupun saya gemar mencuba
membawa beliau dan adik beradiknya
pelbagai gaya dan medium, namun,
mengunjungi koloni seni di Kompleks Kraf,
kecenderungan saya lebih terarah pada usaha
Jalan Conlay untuk mencanting batik.
untuk menguasai kemahiran seni digital.
Sejak kecil, beliau selalu membawa buku
Secara lazimnya, saya agak kurang
lakaran bersamanya, sehinggakan semasa
memberikan tumpuan pada kekemasan
sedang melancong, beliau masih giat
lakaran, sebaliknya saya lebih mengutamakan
menghasilkan lakarannya. Anak kedua
penelitian terhadap penampilan keseluruhan
daripada 4 beradik ini gemar melancong
rupa dan warna sesuatu karya ilustrasi
dan minat pada kucing dan makanan.
tersebut.
Khadijah ialah pelajar jurusan sains di sekolah dan mendapat keputusan yang
Kebiasaannya, apabila memulakan lakaran
cemerlang dalam Sijil Pelajaran Malaysia.
awal pada lukisan, saya akan menggunakan
Walaupun berkelayakan untuk menceburi
gaya sapuan berus lakaran besar untuk
bidang kejuruteraan, beliau telah
mendapatkan imej kabur pada warna yang
menyantuni naluri hatinya dengan
dihasratkan sebelum memfokuskan pada
memutuskan untuk menyambung
penghalusan terhadap perincian warna.
pengajiannya dalam bidang seni di The One Academy mahupun mendapat
Kaedah ini diinspirasikan oleh seni grafik
tawaran menyambung pengajian seni
separa realistik yang dilihat dalam karya JC
halus di Nanyang Academy of Fine Arts di
Leyendecker, Ignasi Monreal, Miles Johnston
bawah geran daripada Kerajaan Singapura
dan Loish, manakala mata pelajaran
. Keputusan ini ternyata telah menyusuri
kegemaran saya adalah potret manusia
ketelitian teknik seninya.
dan fesyen moden. Mempunyai lebih 70,000 pengikut
Kita hendaklah bertindak bijak dalam
Instagram, beliau juga aktif dalam
mempromosikan karya seni dan menarik minat
penglibatan di Konvensyen Anime di Kuala
penggemar seni. Kita tidak wajar membataskan
Lumpur dan Singapura. Beliau turut
tumpuan kepada peminat seni tempatan
membuka perniagaan dalam talian dengan
semata-mata. Keupayaan mengetengahkan karya
menjual hasil karya seninya. Pada awal
seni pada pasaran antarabangsa boleh membuka
pembabitan seni, hasil lukisannya lebih
suatu ruang horizon. Dewasa ini, melalui saluran
menjurus pada coretan sketsa anime.
media sosial popular seperti Instagram, Facebook
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berkembang yang menjurus pada gaya
Ramai peniaga dalam talian yang berjaya adalah
corak separa realistik.
dalam kalangan mereka yang secara konsisten mempamerkan karya seni terkini mereka untuk tatapan penggemar seni. Saya mendapat ilham online dari miles_art dan raiphennn .Apa yang perlu diberikan keutamaan adalah penghasilan karya tanpa henti dan memperluaskan karya di pelusuk dunia demi peningkatan daya kreativiti.
Pernyataan Artis Penghasilan karya seni sentiasa menjadi sebahagian daripada hidup saya sejak kecil lagi. Tanpa seni, sukar membayangkan akan kehidupan saya yang tidak mengujakan dan adakalanya membosankan. Terkini, saya sedang memperbanyakkan usaha latihan yang berterusan bagi mengilap asas seni.
18
Apa yang menariknya tentang hasil karya ini adalah keindahan tekstur makanan biasa yang jelas terpancar dan tampak segar, membuatkan saya ingin memakannya, kecuali rama-rama itu.
Penulis: Ria Ismail Penterjemah: Mohamad Onn Abd Aziz
MULAIKA
START UP STORIES
is a new fifteen year-old artist from Kuala
O n e
Lumpur making a mark in abstract
of
painting. She started to focus on painting
paintings after her
as a form of expression in 2016 and has
grandfather’s
produced around 80 works of original art
was the Sakura Series. “I
primarily in acrylic on canvas. She
was inspired by two things about
currently has a network of 16 collectors
the Sakura tree-how it symbolizes the
and has also done commissioned artwork
fragility of life and the beauty of it.” She
ULTRANOVATE
for a developer company in Petaling Jaya.
said her grandfather loved gardening, so
Mulaika is born as a middle child of three
she tied the two ideas together to make
siblings of mixed parentage- Malay,
the Sakura Series. “Although people see it
‘We are the others’
Lebanese and Australian. She is a
as a beautiful painting, I was dealing with
self-taught artist and also makes short
sadness”. From this inspiration and energy
...that’s our motto.
films. Her videos include Everyday Dies,
the artist created the melancholic and
Smoke Study, Art is Subjective, Saturdays
moving Bunga Kertas di Langit which is
We have come into the Malaysia design landscape
in October, Kurt Cobain and RESIST
about
after getting frustrated seeing most design project
where she handles deep topics and stark
other-worldly Gabriel as in the Archangel.
work done here are just like wearing an outdated
realities
Mulaika’s
Part of her series on identity and
“school uniform” or just using boring templates.
favourite artists are Tajuddin Ismail, Mark
relationship is the spontaneous and
Most people out there including architects and
Rothko, Edward Hopper, Jackson Pollock
delightful Bawang Merah & Cotton Candy
designers are too comfortable with common things
and those in the Dada movement. As she
which is about Mulaika’s identity of a “mix
without realising that it could be damaging their
is still under 18 she can be contacted via
kid” with her use of pink found in both
business in the long run. We have witnessed this.
her
worlds of her Malay and western culture.
With that reason UltraNovate was born in 2015.We
ju.azmi@gmail.com.
quite
naturally.
parent
cum
agent
at
her
first
her
death
grandparents
and
the
Another work is entitled Lovebirds- a soft,
envision to redefine the way that you live, work,
beautiful and simple piece apt for the title
love an play in vibrant green living.
it brings.
Ultra Novate is identified as a applied design and green
micro-architecture
technology
start-up
company. We have undergone CGP 2018 (Coach & Grow Program by Proficeo/Cradle) training for readiness in future design industry in this region. Parallel to this we have increased our value proposition in the market. You may have come across our award winning UltraDoor and other UltraFurniture . Gabriel - 2017,
Acrylic on board, 70cm x 40cm
Sometimes, it can be frustrating that there is a lack of appreciation of local talent in Malaysia. I have managed to sell my art work abroad: to an Australian collector and in USA (Miami Art Basel) which was easier rather than the Malaysia market. This taught me that if you are good in Malaysia; it is not necessary that you can sell your work here. I have observed and learned this in a hard way and
The work of Mulaika Nordin and her planned art show
H
er exploration on life and nature found her using elements of trees, waves, smoke, stone and
the sky. There is a significant series on ‘smoke’ and ‘blues’ which culminates in Forces, a huge piece of work that she
have now employed certain ‘tactical strategies’ to
Mulaika Nordin’s artwork has often been
ends that series with. There is also a
win over the local market.
described
series on the environment which include
as
ethereal,
nostalgic,
beautiful, poignant and revealing.
The
Fakes Plastic Trees and Pollution in which
What has inspired me is about the marriage
key event that sparked the start of her
she draws attention on the state of the
between Art & Science (technology); this could
body of work was the death of her
world. A significant part of the exhibition
produce ‘magic’ once it takes-off from the ground.
grandfather Allahyarham Azmi bin Abu
will revolve around school life. The series
Obviously current business behaviour trends
Hassan in January 2016. It seemed a
is
change rapidly. Today people are wondering and
spiritual
was
Kounseling to the exploration of the mind
swimming hard for 4.0 industry revolution or Cyber
unleashed at this point as the artist for the
in math class in the Multiplicity Series. The
data system technology; but what about 5.0
first time grapples with the reality of
planned
industry that already have started in Japan? Are we
death at 12 years of age. Mulaika
Mulaika’s eight short videos of various
ready for this..?Even our nation now is struggling to
self-taught herself and began her artistic
themes including Everyday Dies, Smoke
re-learn democracy within a recent government
journey naturally and in earnest. Currently
Study, Art is Subjective, Windows: Japan
change . This does not mean things will get better;
Mulaika is preparing for her first art
and RESIST. The artist has produced
unless you are constantly upgrading yourself with
exhibition
her
around 80 works of art of various sizes
knowledge, experiences and be ready to be tested
evolution as a young artist between the
with her own community of 16 collectors.
Therefore be destructive, be ultra....
sensitive, exploratory and coming of age
Around 30 original pieces and 8 videos
of 13 and 15.
are planned for the show. "As she is still..
DrZ Ultranovate
and
that
artistic
aims
reservoir
to
follow
She has been exploring
diverse
from
exhibition
the
will
shocking
also
Bilik
feature
themes of relationships, death, loss, beings, space, identity and her life events.
by Jumaatun Aziz
19
MUSOTREES
START UP STORIES
How did Musotrees come about?
I'm happy to announce that Vol 5 will be released in August 2018. I chose Chemistry to be the issue's theme. I also increased the pages in
Musotrees is a biannual independent publication
the new issue from 132 to 160 —
based in Kuala Lumpur that speaks on journey and
meaning you got to read more
destination. The magazine was initiated through
stories! I'm super excited to have
mobile photography and the constant idea of
collaborated with 9 local brands in
travelling. In short, it is a travel magazine that
Vol 5. Musotrees also started being
portrays beautiful pictures and simple journey
stocked at coffee-chain cafe San
stories. I started solo travel, and it gives me so
Francisco Coffee majorly in Klang
much opportunity.
Valley area, Genting Highlands,
Are you two years old already? How has it developed? Almost 3 years. Currently 4 issues have been published and now available in more than 20 countries worldwide. Brief info can be found at musotrees.com - I started focusing on international market first when the first issue released — coz it's easier to tackle the target readers worldwide. In Malaysia, it is a bit challenging in the beginning. Indie print isn't something everyone does and I often being asked why is it about my magazine that different from the others. To me, it is also about the aesthetic value and how I characterise Musotrees to become Musotrees. Slowly, people start to understand.
Penang and Seremban. Also, the biggest collaboration I did so far is to having Musotrees as a reading material at all rooms in KL Journal hotel in Bukit Bintang. Some other international collaborations I did that have given me positive impacts were with VSCO (San Francisco), Coolmapp (Barcelona), O-apartamento (Lisbon), Freunde von Freunden (Berlin) & Mujjo (Amsterdam).
Travelling has always inspired me. It's my passion. Doing things I love give me energy. It keeps me going, being driven on every step I've taken. Musotrees is a self taught project. To begin with, I'm not exactly in creative field back in the days. 8 years ago, I was in science field. Now I'm happy to say I'm doing things I love, got to travel more and crucially meet more new people! Every day is a new day. That matters to me.
What would you like to share as tips/inspiration to others embarking on a art-zines?
For Vol 5, I'm featuring stories from
Print is an expensive industry. Firstly,
Cairo, Nairobi, Kathmandu, San
understand why print and not digital.
Francisco, New York, Penang,
Secondly, identify who will read your
Singapore, Auckland, Edinburgh,
magazines/zines. Decide what type content
Bogota & Jakarta.
you are going to publish. Content is King. Some people love reading, some love
Every issue has a different theme. I have received so many contributions worldwide on every issue. It shows that people start to notice Musotrees and keen to be part in the project. Looking back at past
What inspired you and what drives you now?
themes;
20
illustrations, some just love mages. Lastly, create magazines/zines) to reflect you — things you like and love. Not making something to favour others. If your
Vol 1 - Introductory Issue,
Musotrees is an expression of the
magazines/zines are good, it will gain the
Vol 2 - Inexperienced Issue,
photo-sharing platform in print form
right readers. Slowly. Nothing comes easy,
Vol 3 - Enterprise Issue,
with experimental design, layout
but be persistent and consistent
Vol 4 - Home Issue
and ethos.
ALL.THE.TIME.
21
How did your company come about?
How old are you? How have you grown?
WE&I Art was born after a successful group
WE&I are actually only a year old but have already
exhibition between four ‘special’ young artists,
been embraced by both the art community & public
To always ‘think out of the cube’ , no longer
Izzati Shahrin, Yuri Azzari, Haziq Izmi and Maria
to date as a group and also as individual artist in their
just ‘the box’ as this will not suffice any longer
Soo, who shared their hopes, dreams and
own genre.
or be relevant in this fast paced , multi-media
What would you like to share as tips? innovative business in the creative industry
visions in an exhibition titled WE &
world of innovation especially in this creative
IZZATI-Special Expressions at the White Box,
We have won competitions , participated in
PUBLIKA during the Borak Arts Series
exhibitions, been invited to speak and even
conference in 2017.
showcased in the World Stage during UNESCO -
One should not be afraid to learn, share and
World Urban Forum (WUF) & was also nominated
collaborate with other fellow artists and continue
This special invitation from the organizers, My
for awards ( Al Hijrah). We also participated in charity
to support each other towards an ‘art movement’
Performing Arts Agency (MyPAA), was initially to
collaborations with OKU Sentral performances and
of a new breed of all kinds differently abled artist
only one of the artist Izzati Shahrin who insisted
Art Bazaar at Sasana Kijang ( Bank Negara), charity
. For those artist who has never been given the
that her three other fellow artist friends be
bazaars Soukkita ( Mukha Café) and many more.
respect nor opportunity to showcase their
invited to participate as well. Hence, the
industry.
talents, do not give up and continue to develop
exhibition was aptly named WE & IZZATI -
Currently 2 of our artists is participating in an
your gift , explore & collaborate with us or others
“Special Expressions”.
exhibition with veteran and professional artist ( non
like us.
OKU) in the ‘Celcom Cat Exhibition-2018’ in Sunway This exhibition was achieved with funding and
Putra Mall. Future exhibitions is a special invite to
WE&I would also like to acknowledge the
support from family and friends as well as the
exhibit in the KL World International Deaf Artist
following artists whom we hope to be able to
sponsored venue with spill over media support
exhibition , September 2018 in Balai Seni, Menara
collaborate with one day , Anthony Lee Wong ,
by MyPAA, volunteered curation by Zanita of
Maybank Tower.
Dennis Liew , Fitri Raslan , Kintaraw
National Art Gallery and also, the ongoing
Subramaniam, Stephanie Tam, Wan Jamila Wan
Malaysian Art Expo brought visitations of around
Shaiful Bahrin.
1000 over people within the two days. Sales
They have already made their own mark with
from the exhibition amounted to more than
some owning their own galleries and brand
RM30K where a percentage of the proceeds
labels too. We have had the pleasure to be
were pledged to the Malaysian Rehabilitation
participating in the same group exhibition or art
Centre as part of empowering the WE&I artists
events both locally and internationaly.
What inspired you and what drives you now?
in aiding others. Interestingly, all four of our artists are also from the NUKILAN JIWAKU group - a project for Persons with Disabilities founded by En Noor
WE&I is inspired by the success of our
Freezailah bin Noordin during his tenure in a
inaugural event , the 1st Special Expressions
prominent local bank in 2012. Its main objective
exhibition during BORAK ARTs festival 2017
is to provide an avenue for artistic expressions,
that was able to reach out to various
add artists’ credibility with programme
communities in all walks of life. A lot of
collaborations with University Malaya, expose
enquires received from both the local and
and train them and to be economically
International group of artist community and
self-reliant. These are also the basic values found within WE&I art movement, which also
An end of year event to look forward to is a WE&I
plans to take this into another level that includes
collaboration with Oasis Square, Ara Damansara on
personal rebranding to change the image of
an exciting inaugural signature event of an Art
differently abled artist towards professionalism
Festival & Conference for the Differently Abled, 2018
as well as creating a sustainable business plan
, of which the highlight is the prelude exhibition by
in line with the current and future trends.
‘WE&I – Special Expressions II’
WE&I Art looks forward to inspire and empower
To date, WE&I have also expanded our art ventures
others towards a sustainable future in the arts
into limited edition art collaterals and speciality gift
and hopes to lead by example.
sets . We also marketed our artworks as images for various commercial and private use . WE&I is pleased to announce that it is now officially registered as a company where the 4 artist themselves made partners with Izzati Shahrin as the principal/founder. At present WE&I is building up our social media with links to our own successful individual artists established sites via the website www.weandiart.com Instagram & Facebook.
also visitations by other differently abled artists and their parents who needed inspiration and guidance on how to garner respect for their artistry and move forward positively to a sustainable future. With all this new found confidence , positive energy now found within the community of differently abled artist , realising that there is also a future for them and places to seek guidance and advice. WE&I are humbled to be able to aid others in this journey .The ‘E’ in WE is about empowering while the ‘I’ is about each of them, able to inspire and also express their world of imagination all found naturally in abundance . Most importantly is with love and support from one’s own family , will enable aspirations , visions and new found empowerment towards a certain degree of independence and positive growth which will make it all worthwhile. by Zuraini Anuar
START UP STORIES
Maria Soo
Yuri Azzari
yuri azzari maria_s2c
yuri azzari
www.weandiart.com
www.weandiart.com
roselow1128@yahoo.com
yuri_zaharin@yahoo.com
Haziq Izmi
Izzati Shahrin
Izzatiarts
Haziq Izmi artautistic
izzatiarts
www.weandiart.com
www.weandiart.com
shimahghani@yahoo.com
izzatiarts@gmail.com
Anthony Lee Weng Choong
Dennis Liew Kai Mun Art Medium  : Chinese Ink and water colours on rice paper; acrylic on canvas; oil on canvas
Anthony's Artwork (Products & Services)
Onizuka Daisuke
Anthony's Artwork
dennisliew86.wixsite.com/arts
helenleemin13@gmail.com
patsk2320@gmail.com
Title: Irises
Fitri Raslan
Kirtanraw Subramanian
kirtanraw Fitri Raslan
Subramanian Bandiloo
revinajunus7@gmail.com
subramanianbandiloo@icloud.com
Stephanie Tam Zhu Shin
Wan Jamila Wan Shaiful Bahri www.facebook.com/artjamilapage.com
Title: Love, Media : AcrylicSize: 38cm X 51cm
Stephanie. tam.585
www.facebook.com/artjamila2002
stephanie_zhushin
www.instagram.com/artjamila/
https://gallery.yayasan-nanyang.org/
www.artjamila.com
terisachen2013@gmail.com terisachen2013@yahoo.com
artjamila2002@gmail.com
24
WA R N A I WA R I S A N Dua mukasurat untuk diwarnakan ini dinspirasikan dari dua karya Koleksi Balai Seni Negara dan dilukis dengan teliti bagi menyerupai karya asli. Adalah diharap keseronokan mewarnai karya ini akan menyemai rasa bangga terhadap sejarah seni lukis negara. These colouring pages are drawn from two iconicpieces of the National Art Gallery Collection and are the most accurate representations possible.It is hoped that the viewer will develop as much appreciation for the artworks in the spirit of celebrating our Malaysian art history.
Spirit Of The Earth Sky And Water by Patrick Ng Kah Onn, 1959. Oil on board 137 x 122cm This masterpiece ode to nature is Patricks uniquely detailed narrative composed of three distinctive zones , namely the sky, the upper world , the earth the middle world and the water or lower world located at the foreground of the painting. At the top of the canvas is depicted two young men dressed in malay costume one set aginst the stars and the other against the full moon , pouring the seeds of life onto earth .Tree plants surge upwards , in the centre a woman with outstretched arms is blessing the homage of the young man and other youths in kneeling positions similar to the Balinese kechak dance.In the lake , there is aen embracing couple not unlike the yaksha of Indian art. Patrick infuses remarkable symbolism to connect the image within a
WA R N A I WA R I S A N Dua mukasurat untuk diwarnakan ini dinspirasikan dari dua karya Koleksi Balai Seni Negara dan dilukis dengan teliti bagi menyerupai karya asli. Adalah diharap keseronokan mewarnai karya ini akan menyemai rasa bangga terhadap sejarah seni lukis negara. These colouring pages are drawn from two iconicpieces of the National Art Gallery Collection and are the most accurate representations possible.It is hoped that the viewer will develop as much appreciation for the artworks in the spirit of celebrating our Malaysian art history.
Aspirations of The Working Class by Wong Hoy Cheong, 1994. Charcoal, photocopy. Transfer and collage on paper. 190 x 150cm Migrant series is a tour de force consisting of four large monochromatic paintings on paper chronicling the Chinese diaspora and the indelible Chinese contribution to the building of the modern nation. Wong Hoy Cheong’s seminal Migrants series of 1994, for instance, presents the social history of his own family’s migration to Malaysia, but also symbolises, more generally, the story of the Malaysian Chinese diaspora and their role in building the Malaysian nation. Replete with political commentary about social displacement, class conflict and colonial influence, the charcoal drawings of the Migrants series also illustrate Wong’s forceful reassertion of the importance of figuration in producing socially relevant art. A rubber tapper married to a girl dressed as Virgin Mary, She was married at 14 and had 14 children, Some Dreamt of Malaya.
PEMUISI PAGO PAGO
Latiff Mohidin.. Pago Pago (1960-1969)
Exhibition @ Galeri Ilham 12 August - 30 December 2018, Level 5 Twilight Imago 1968 woodcut print 78.5x99.5cm National Art Gallery Collection Gift of Malayan Tobacco
Latiff Mohidin: Pago Pago (1960-1969) traces a formative period in the artist’s practice during the 1960’s as he journeyed across Europe and Southeast Asia. The artist’s first major exhibition in Europe, Latiff Mohidin: Pago Pago
art circles, especially how the pre-War
‘avant-garde’ of Southeast Asia) from
German self could be recovered and the
Goenawan Mohamad in Jakarta to Thawan
evolving concerns surrounding modern
Duchanee in Bangkok and later Salleh Ben
art’s use of the so-called primitive image.
Joned in Kuala Lumpur. The aim was to invert the previous generation’s initial
The city offered Latiff Mohidin access to
response towards European modernism,
expressions of a progressive ethos from
which was largely premised upon resisting
groundbreaking movements of
the colonial. The challenge was to
Cubism,Futurism,Dadaism,Constructivism
formulate an aesthetic sensibility that
and Surrealism while allowing him to
(1960-1969) features over 70
charted the inner world of the artist amidst
examine the linkages between this
immense ideological and conceptual flux.
paintings, drawings and prints,
progressive ethos and his own ancestral
supplemented with archival documents, and situate him in dialogue with European peers.
imaginary.
How does one advance the mediums of painting, drawing and writing to suit local
Latiff Mohidin’s encounter with a series of
milieus? If the 1960’s were characterized
Thai and Khmer relics resembling pagoda
as a decade when artists from
forms at Dahlem’s Ethnological Museum
lesser-regarded regions like Latin America
of Berlin, from which the word‘ pagoden‘
and Africa established a locus of
and later’pago‘ emerged, needs
participation in the major redraft of
further emphasis.
Modernism, then Pago Pago was arguably one of the foremost conceptions of the
Latiff Mohidin returned to Southeast Asia
time, maneuvering Southeast Asia into a
in 1964 with the hope of reengaging with
similar position as a source of new ideas
the region. When he departed for Europe,
for modern art.
various nationalist movements had begun to prevail throughout Southeast Asia. May
This exhibition invites visitors to observe
1969 would mark a turning point in
the formation of a regional avant-garde,
Malaysia as sectarian violence broke out in
via the microhistory of an individual of
Kuala Lumpur, leading to major shifts in
Southeast Asia. Latiff Mohidin’s Pago Pago
the social contract with significant effects
series is made up of sketches, paintings,
on cultural production. Latiff Mohidin
sculptures, prints and poetry.
journeyed through these shifting political configurations, as he travelled extensively in the region from 1964 to 1969. Whilst he The historical backdrop for this exhibition is the early 1960’s, when Latiff Mohidin began his formal art training at the Hochschule fur Bildende Kunste in West Berlin.There, he studied the German language and focused on art school subjects like still life, landscapes and printmaking. Berlin also initiated Latiff Mohidin into the burgeoning debates of the time amongst/within German
28
acknowledged the potency of ideological formations at the height of the Cold War, Pago Pago stood in opposition to overt doctrinal write. Latiff Mohidin sought out a different enterprise: To open a new sphere in what he calls ‘region intelllectual’. Throughout the 1960’s, Latiff Mohidin engaged individuals of his generation (the
NATIONAL GALLERY SINGAPORE
This exhibition was conceived by Catherine David and Shabbir Hussain Mustafa. It was first presented by the National Gallery Singapore in collaboration with the National Museum of Modern Art Centre Pompidou in Paris from 27 February to 27 May 2018.
Serak Bersajak
Jai 2018
Sebak mendengar serak suara Pak Latiff bergetar dalam panggung dua dewan Pompidou Center kelmarin. Nada yg uzur seolah berbisik tapi keras gemersik membuat aku terkilan berada nun jauh di baris dua dari belakang sambil mencari-cari sudut dengar yg lebih petah. Kota Paris yg hampir beku malam tu menerima aku dengan hangat-hangat taik ayam namun bahang jiwa ini tidak pernah padam. Semakin membara sebaik melangkah masuk ke panggung yg malap namun sesak. Di baris dua dari bekakang aku sesekali diusik keraguan dicelah-celah antara denkuran Zakii dan tawa Pak Latiff. Lalu terimbas jauh meniti perjalanan aku sebagai pelukis. Masakan aku bisa lalui lorong-lorong pintas yg Pak Latiff temui. Mampukah aku kecapi manisan perjalanan beliau yg penuh rona? Apakah pelukis bisa diraikan sebegini agung? Benarkah lukisan itu cerminan budayanya? Dimana letaknya ruang jiwa? Siapa yg empunya makna disebalik lapisan-lapisan warna? Kemana dibawa zat dan rohnya? Ahh semua ini cemuhan minda.. Kota Paris hampir beku dibuai angin Siberia Pago-pago merah petah becerita Tentang rahsia perjalanan tua saorang pengembara. Pak Latiff serak bersajak di panggung dua dewan Pompidou.
Pak Latiff dan Jai di Paris
Di Tengah Pentas Hari Puisi Latiff Mohidin Para penyair undangan telah lama pulang, Deretan bangku-bangku kembali kosong. Teteapi pak penjaga dewan masih berdiri, tegak di tengah-tengah pentas, membaca dengan serak sajak-sajaknya sendiri, berkali-kali. Siapakah kini yang bisa menutup tirai, mematiakan lampu-lampu, menutup suara dari pintu hatinya,
Latiff' Mohidin 'Pago-Pago' oil on canvas, 1965, National Art Gallery Collection
Two souls in love must be enough to exist in separate carriages oiling up worn out tracks parting, inching closer derailing , kissing being at ease with rain and unabated floods with no dams given in involved with taken forsaken for granted just like the canons of the wise songbirds lost oversung words lusting continental drift reaching a sufficient draw in distance in nearness in between in an auditorium where Goenawan dedicates a river part to Latiff and our seats apart i saw you melting in batik and all of these people that don't have to be here in klang valley in chaos and in cosmos between bibles in Borneo and Mak Yong lost in translations and constellations veined on bodies entwined in an awkward embrace that demands no arms in self effacement and in sacrifice or otherwise in Sapardi in Parsi in Palestine in between arch of bridges your shoulders my spine the Shah Alam sunset we unvoid ourselves to the discourses and definitions sermons and venoms that become norms to be a kind of fake divine to be kind because love is a hikayat you unceremoniously call myth because the truth makes you feel fear unsettling under your own skin wounding of a conversation you have no part of so when strangers choose to become dams to our rivers we learn to let them be but if one of us gives no damn then what does it make us both becoming the losing cause
Sesenja di Shah Alam
Noor Iskandar
memberitahunya malam telah larut dinihari, dan acara hari puisi telah lama selesai? -Latiff Mohidin Di Tengah Pentas Hari Puisi, Rawa-Rawa dan Sajak-sajak Dinihari (1992)
unbecoming because two souls loving will be enough —This poem is to be published in the collection I Love Too Quietly in the fall of 2018.
No. 4 Jalan SS 4A/4, Kelana Jaya, 47301 Petaling Jaya, Selangor, Malaysia. Tel/ Fax: +603 786 30755 | Email: kpnb17@gmail.com
Koperasi Pelukis-Pelukis Negara Berhad (KPNB) or National Artists Cooperative PLC (NACO) is established in January 2017. Before 2017, all this while we only have many artists associations. Due to the multiple issues faced by most artists associations, our founder Mr. Zubair Afandi bin Omar whom is a part time artist, a corporate businessman and also was a former member and a former assistant treasurer for Angkatan Pelukis SeMalaysia (APS) back in 2013 - 2014 and his old friend the Honourable Raja Mohamed Nizam bin Raja Mohd Ali whom is also a part time artist, a corporate consultant and was a former treasurer for Angkatan Pelukis SeMalaysia (APS) back in 2014 - 2015.
Octane is the platform for high-performance design
After a long discussion during the end of Ramadan month in July 2016, both of them
edge design.
decided to initiate the formation of the national cooperative for our Malaysian artists.
Providing up-to-date, art news, critiques and reviews in Asia, and the World.
The 1st Annual General Meeting for the formation of KPNB (NACO) was held at the Rumah Pena on the 25th of September 2016, attended by artist friends whom supported the initiative. KPNB (NACO) was officially formed on the 17th January 2017 and we are the 1st cooperative for our country ever since our independence in 1957.
www.octane.my melisa@octane.my
KPNB (NACO) is NOT a charitable organisation. We are the 1st corporate body for our artists and we serve to uplift the livelihood of our Malaysian artists so that we will be on par or even better than other international artists.
Art Gallery in Putrajaya where KPNB exhibits
KPNB Core Objectives i. To assist our members in generating income
architecture, micro biology and
and on the management of their finances and to
manufacturers into adapting the creative
uplift and promote the status of our members
content as part of the R&D and innovation.
and their works of art to the public and to the
viii. Collaborations with private collages
world as a whole via art exhibitions, auctions and
and universities with regards to creative
e-commerce. ii. To secure and protect the
media industry and innovation. ix.
Intellectual Properties (IP) of our members i.e.
Collaborations with local and international
Copyrights, Artists Resale Rights (ARR) &
financial players where art as part of their
Royalties. iii. To assist on our member's welfare
equity and commodity investment portfolio.
and well being via insurance coverage, SOCSO,
x. Collaborations with the Ministry of
EPF, charitable expanses ("Khairat Kematian") and
Education and the Ministry of Higher
others. iv. To facilitate and secure the authenticity
Learning since art have a direct co-relation
of their artworks via our in-house forensic unit.
with our Malaysian Heritage, Culture and
v. To assist the expansion and formulation of the
History and the importance of art in
creative media industry and creative content
every industry
development. vi. To bring forth to the government with regard to tax incentives for the art industry. vii. Collaborations with industry players i.e. from the medical, engineering,
30
ART & ARCHITECTURE
Noa Haim & Collective Paper Aesthetics
31
ART & ARCHITECTURE
How did you begin to imagine the name for your Collective ? How much time and resources did you need to start ? Were there support from institutions or bodies?
“Ring op het Ding,” Polytechnic Museum, Moscow
O
n summer 2008 I have been
For the presentation at Triennale
asked by London Festival of
Bovisa during salone del mobile
Architecture to create
2009 I have been asked by Olivia
participatory activity from my graduation
Ponzanelli to come up with an
project at the Berlage Institute, Rotterdam
attractive name and this is where
(July 2004). At first I was not planning to
Collective Paper Aesthetics was/
repeat the interactive paper placemaking,
were born. The logic behind the
but following questions from Dutch
name is that the aesthetics are
Design Week and Amsterdam Museums
made by the collective action
Night I found myself busy with it more
using paper back then. After
and more. When I registered my own
receiving dezeen + Tokyo design
studio at the beginning of 2009 in the
association prize on 2010 and
chamber of commerce in Rotterdam I
hearing the name repeatedly
named it NH010 (initials of my name and
spoken for one week I realized it
the regional dialling code).
was a good name for the studio.
From summer 2008 until Spring 2009 I was using most of my savings and had very little income. From 2009 until 2012 I was lucky to receive a governmental grant to develop my studio work. In parallel I was able to join business coaching programs from rvo.nl which were helping me to learn the trade aspects of having my own studio.
SENIKINI would like to hear your opinion and thoughts on art and art and design in Asia, particularly what you think of the region Asia -Malaysia design today. WĂŐŽĚĂƐ ZŽďŽƚ
Pagoda II, 1964, Oil on canvas, 99.4 x 99.2 cm. This artwork has been adopted by BinjaiTree in memory of Chin Yew Kay and Tan Kim Siew. Collection of National Gallery Singapore
2QWZHUS
2QWZHUS
ϭϭ ^ĞƉƚĞŵďĞƌ ϮϬϭϲ ϭͬϭ
.ODQW SDUWQHU
WĂŐŽĚĂƐ ZŽďŽƚ
B
I love the way designer/
Together with my
artists/ architects in South
studios work I had the
East Asia are using materials
oppertunity to visit
and the way they put
Japan, South Korea,
together local traditions with
China, Hong Kong,
nowadays technology as
Singapore and
contemporary state of mind.
Indonesia. For the past
During my architecture
10 years I have seen
studies I encountered a book
many design shows
about Ken Young and since
and trade fairs in Asia.
then I have been fascinated
If I step back and try
with Kuala Lumpur high-rises
to make a generic
and mixed functions. In the
statement about
past 15 years I have visited
design in Asia I would
many Asian mega-cities and I
say that it is a
find the context much more
playground where
challenging for young .ODQW SDUWQHU
everything is possible
architects/ designers than
and sky is/are
European one.
the limit.
efore visiting the national gallery Singapore on 2016 I choose to interpret the Pagodas II drawing form Latiff Mohidin to a 3D structure for the first gallery anniversary. I was attracted to the
‘kind of’ human expression each pagoda has in the painting. During my visit in the gallery for the project setup I was touched by the work of <The pleasure of being, crying, dying and eating by Montien Boonma> – the use of the everyday object to communicate a personal grief in a manner which is strong and fragile at the same time.
Visiting Jakarta on 2015 and Singapore on 2016 I was impressed from furniture recycling and upcycling. The way old furnishing from the original court house in Singapore were manipulated to fit with the national gallery needs and style was so beautiful and clever. In Jakarta I found beauty in so many things; from the burned abounded structures in the Kota Tua area to the Istiqlal Mosque and its 70’s pre-cast technology to co-space working places. Pagoda Robot at the National Gallery Singapore, November 2016
32
ART & ARCHITECTURE
I hope we the organization in Penang and my studio will find the time and place to collaborate in the future. The organization wanted to use the Heart Board Pyramid system to animate a public space during the festival together with children and families in a similar way to street activity we did on Times Square, NYC on 2017 at Design Pavilion during NYCXDESIGN. The concept is taking the museum education activities outside of the museum physical space and in that way offer design as an activity for all. Everyone can be a designer.
As a designer I am always excited to collaborate with local manufactures, new materials, techniques, colours. New encounters are enriching the studios portfolio as my personal experience and the experience of the collaborators – it’s a win-win people to people situation.
“Make America Heart Again,” Design Pavilion @NYCXDESIGN
We were informed that you were invited to do a work for Georgetown Festival . Unfortunately we missed seeing your works at Georgetown Fest , could you share what you were planning for Penang?
Leren op het Schoolplein was a project asking young architects and designers in Rotterdam to come up with ideas for school playgrounds where children can learn math while playing. The project was not realized back then, still I would love to find a collaborator to materialized the sketch with.
You have chosen to work
The practice of paper or the use of a
leftovers but his knowledge and
with paper. How do you
singular material is blending the borders
expertise of more than 50 years
see your understanding
between the real physical experience to
professional experience in the
of this material develop
the one in our imagination. The studio is
industry.
throughout your process,
not limiting itself to use paper or
shaped by a global eco-consciousness to save the trees and through the audience appreciation of it? he material selection is originated in the architectural model from 2008. The beauty in large scale paper structure is the absence of familiar scale. Our conscious is often fixated on the relationships between materials and objects/ spaces/ use.
cardboard only. I am curious to produce
Those experiences were bringing
the modular systems from different
me in closer contact with global
materials, in variety of scales and using
eco-consciousness design trends
new technologies.
and line of thinking. I find it important for the future of our
The lack of financial resources at the
environment to choose the right
beginning of my independent career
material for each project, still I
was leading me to re-using print tests
consciously indicate the focus of
and aluminium printing plates. An offset
the studio on learning and
printing warehouse In my
education resources and spaces
neighbourhood was the playground of
than the eco environmental
those experiments, very much thanks to
subject. I presume it has to do
the owner who loved his working place
with my personal fascination and
and was willing to share with me not
where I find professional
only the industrial
satisfaction.
33
COLLECTIONS & HERITAGE
M
alaysia has a wealth of
At the book launch of Shadows,
culture and heritage and
Kakiseni staged a Wayang Kulit
yet our local traditional arts
performance by Kamarul Baihaqi, a
is in danger of being
wayang kulit prodigy who was only
of children’s books, that includes
According to Low Ngai Yuen, president
Shadows and The Girl Who Loves To
of Kakiseni, “Kamarul Baihaqi represents
Dance, that draws on the art of
what is possible when parents take an
Artists Take Traditional Arts To The Young
Wayang Kulit and Mak Yong,
active role in nurturing an appreciation
Kakiseni aims to elevate local traditional art
respectively, both artforms that
for traditional arts since young and at
originate from Kelantan.
Kakiseni, we aim to spread this love for
like Wayang Kulit and Mak Yong to the
neglected especially by the newest
five-years-old at the time! The son and
generation. To ensure its survival, we
protege of Kamarul Baisah Hussin, an
need to inject new life into traditional arts
esteemed Tok Dalang and lecturer at
by giving it new mediums and platforms
the National Academy of Arts and
so that it can be shared and appreciated.
Culture Malaysia, Kamarul Baihaqi has previously performed at the 13th BOH
To get young Malaysians interested in
Cameronian Arts Awards in 2015 in front
our traditional arts, Kakiseni and MPH
of a large audience of arts practitioners.
Publishing launched the Hikayat series
Shadows and Wayang Kulit
the arts to more young Malaysians
masses through storybooks, performances
through the medium of storybooks like
and workshops for children through its
Shadows and the Hikayat series.”
Hikayat initiative
In 2017, Kakiseni brought storytellers to tell the story of Shadows to students at
34
Hikayat by Kakiseni
Written by Maya Zaharudin and
five different schools around the Klang
illustrated by Shukardi Shufitri, Shadows
Valley. The book also enabled Kakiseni
book tells the tale of young Adam, a boy
to bring a traditional Wayang Kulit
who finds himself in a wayang kulit world
performance and workshop to the
of shadow and light, and must use his
students of British International School
wits and courage to help a royal prince
Kuala Lumpur, many of whom had
defeat monsters and recover a surprising
never even heard of Wayang Kulit, let
treasure.
alone seen a performance.
COLLECTIONS & HERITAGE
The Girl Who Loves Traditional Arts Where the first book, Shadows, drew on
In her statement, Kakiseni’s president Low Ngai
Wayang Kulit Kelantan, The Girl Who Loves
Yuen said,
To Dance delves into Mak Yong, a traditional dance-drama that originates from Kelantan. Written by Arisha Akhir and illustrated by Serah Boey, the book tells the story of Nana, a young Malaysian girl who seeks the advice of her grandmother, a Mak Yong, as she decides between following her heart and caving to peer pressure. At the launch of the book, Kumpulan Mak Yong Bunga Emas Sri Temenggong from Universiti Malaysia Kelantan were hired to perform for the children of IOP Preschool at PJ Trade Centre as a way to introduce and promote Mak Yong to more Malaysian children.
“Kakiseni welcomes the call for more arts in education by our Education Minister, Dr Maszlee Malik, but his words must be back by concrete action. We believe that traditional art should
book purchased through Kakiseni ensures that a book is delivered to an underprivileged child from Dignity for
plan to bring more arts and
education to children who are being left out
students, and with Hikayat, we aim to make Mak Yong
Children, an organisation that provides of Malaysia’s mainstream education system. Additionally, private and international schools that bring Hikayat traditional performances and workshops to their
bigger than Marvel, in terms
schools will also be offered the
of its meaning and
Hikayat to national schools or education
significance to our own
not have the funding to do so on their
children.”
Although Mak Yong is recognised as an Intangible Cultural Heritage of Humanity by UNESCO, it is actually banned in its home-state of Kelantan and is at risk of being delisted by UNESCO due to the lack of preservation of the artform. As with Shadows, Kakiseni also aims to bring The Girl Who Loves To Dance as
available at most leading bookstores, every
be an integral part of any culture to Malaysian
From left - Low Ngai Yuen, Shufitri Shukardi, TS Norliza, Maya Zaharudin and Baihaqi
While The Girl Who Loves To Dance is
Storytelling at MPH
well as Mak Yong performances and workshops to more local schools. In this way, Kakiseni aims to introduce a whole new generation of Malaysians to the heritage and traditions of our country.
Note: The Balai Seni Negara is custodian to a full set of Wayang Kulit Kelantan comprised of 315 pieces including musical instruments ,dated c1950s-1990s which belonged to Ibrahim Abdullah@Tok Dalang Baju Merah, since 2003.
opportunity to generously sponsor centres for the underprivileged that may own.
COLLECTIONS & HERITAGE
Jho Low’s Art Collection
NOTE: This article is written out of sheer curatorial curiosity over the masterpieces and their ‘New Art history’. This is supported by a an artist who had created an art work dedicated to this inquiry which was exhibited in Fergana Art's Rupa-Rupa(nya) in April 2018.
by Zanita Anuar, et al
(*CLOSE UP | THE ART OF COLLECTING is a book which is part of the artists installation of the same title that can be viewed at the Masa Penerimaan Entry point section of the National Collection show commemorating the 60 years of Balai Seni Negara named Tekad Enam Dekad -60 years of a Collective ,from the 31 August- 31December 2018 at the National Art Gallery Kuala Lumpur)
High art and low art are loaded terms. We are taught that the concept of high and low , the dualism , is traced back to 18th century Western art ideas about fine art and craft. Writers in the 1700s drew a line between work that is
IS LOW’S ART to be appreciated?
contemplated purely for aesthetics (fine art) and
Why did Low give up PABLO PICASSO'S TETE DE FEMME which fetched £18.9 million at a Sotheby's auction, 45 per cent lower than its November 2013 listed price? Next, after buying Monet’s “Great Saint
work that has some sort of utility or function
For the purpose of this article, the answer is YES .
George” for US$35 million in late 2013, he
(craft). The fine art grouping of painting, sculpture,
One cannot but appreciate the Low Taek Jho Art
held it in his storage space at the Geneva
music, architecture and poetry was established at
Collection which began in 2013.
freeport. Nearly a third of art collectors and
this time.
professionals surveyed by Deloitte Touche Among the firsts to appreciate Low’s Collection were
Tohmatsu Ltd. had used a freeport. The
This demarcation affects how people interact
the journalists, artists and the C4 , the Centre to
freeport in Geneva, which traces its roots
with the arts. Another problem with the fine
combat corruption and cronyism .The c4 created a
back to 1854 and is controlled by local
art/craft distinction is the way it implies value.
higly sought after board game named KLEPTOPOLY.
authorities, may house the most valuable art
The fine art view holds in esteem one way of
collection in the world-although its holdings
interacting with art—aesthetic contemplation.
The US Justice Department allegedly claims that
are generally secret. Freeports allow art to
However, the fine art approach reserves the
more than US$4.5 billion was misappropriated from
be moved around the world without
status of “good” for work that is primarily aesthet-
1MDB, with some of the money used to buy a private
incurring punitive taxes. At Le Freeport in
ic. Contemplation is the highest and purest goal
jet, a superyacht, Picasso paintings, jewellery and real
Luxembourg, artwork that remains inside its
for art. Other functions of art are considered
estate. The charges against Mr. Low and his father
walls is exempt from value-added tax,
somehow impure. The Saussurean structuralist
were first reported by The Edge, a Malaysian media
which can be as high as 27% in Europe, and
binary thinking in the Malay world understanding
organization. Two of its print publications, the Edge
from customs duty. Art sales within the
of ART or SENI is less obvious All creation has
Weekly and the Edge Financial Daily, were suspend-
building are also tax-free. Art can remain in
the potential of seni, that is considered seni is
ed for three months in 2015.
a freeport for years, through multiple
infinitesimal, seni is meant for fine art and also
transfers of ownership. Firms offering
referred to when appraising craft
The Malaysian businessman was after top-dollar
art-related services like restoration and
works by Pablo Picasso, Claude Monet and Jean-Mi-
financing are there. Critics believe the
Could we encounter something that is high and
chel Basquiat. The ARTnews magazine named him
warehouses can invite fraud. “I can’t see any
low art at the same time? Those who claim that
among its “Top 200 Collectors.”
better way for people to launder money
high art is true and noble while low art is
than through a freeport,” claims James
commonplace and bad will think of low art as
Now, Swiss officials are seizing some of his holdings,
Palmer, founder of Mondex Corp., which
something to be avoided. Is low art to be less
including a drawing by Vincent van Gogh and two
specializes in recovering looted art .
appreciated?
paintings by Monet, on behalf of U.S. authorities. Art
Mondex fees range from 30%-40% of the
works acquired by Mr. Low is claimed to be bought
price of the art.
using 1MDB funds that had been funneled through Annabelle Lee | malaysiakini.com
The KLEPTOPOLY board game produced by C4 Center.
entities including accounts at Swiss banks BSI SA and
Malaysian police on 24 August 2018 filed
Falcon. Low’s art collection must be scrutinized. Eric
criminal charges against Low Taek Jho, who
Tan, an associate of Mr. Low, who bought US$100
is today wanted in connection with a
million of art on Mr. Low’s behalf, including a Vincent
multibillion-dollar money laundering
van Gogh pen-and-ink drawing maintains that the art
scandal at state fund 1Malaysia
works “should not in any event be construed as an act
Development Berhad (1MDB).
of corruption”.
JHO LOW’S ART COLLECTION Mark Rothko (1903 – 1970) Untitled (Yellow and Blue) oil on canvas 95 5/8 by 73 1/2 in. (242.9 by 186.7 cm) Executed in 1954. USD 46,450,000.00
Claude Monet (1840 – 1926) Nymphéas Avec Reflets de Hautes Herbes stamped Claude Monet (lower right) oil on canvas 51 1/8 by 78 3/4 in. (130 by 200cm) Painted in 1914-17. USD 57,500,000.00
Lucio Fontana (1899 – 1968) Concetto Spaziale, La Fine Di Dio Signed, titled on the stretcher, signed on the reverse oil on canvas 69 3/4 by 48 1/2 in. (177.6 by 123cm) Executed in 1963. USD 24,700,000.00
Jean-Michel Basquiat (1960-1988) Dustheads signed, titled and dated ‘DUSTHEADS Jean-Michel Basquiat 82’ (on the reverse) acrylic, oilstick, spray enamel and metallic paint on canvas 72 x 84 in. (182.8 x 213.3 cm.) Painted in 1982. USD 48,843,750.00
Vincent van Gogh (1853-1890) La Maison de Vincent à Arles (La Maison Jaune) (recto); signed ‘Vincent’ (verso) pen and ink on paper 5¼ by 8 1/8 in. (13.4 by 20.6 cm) Executed in Arles, September 1888 USD 5, 485, 000.00
Ed Ruscha (b. 1937) Mint (Red) signed and dated ‘E. Ruscha 1968’ (on the reverse) oil on canvas 60 by 55 in. (152.5 by 139.8 cm) Painted in 1968. USD 4, 827, 750.00
Jean-Michel Basquiat (1960-1988) Untitled (Head of Madman) oilstick on paper mounted on linen 43 x 30¾ in. (109.2 x 78.1 cm) Executed in 1982. USD 12,037,000.00
Mark Ryden (b. 1963) Queen Bee signed and dated ‘1RYDEN3’ (lower right) signed, titled and dated ‘MARK RYDEN QUEEN BEE 2013’ (lower edge of frame) signed ‘Mark Ryden’ (on the reverse) stamped twice with artist’s stamp ‘RYDEN’ (on the reverse and reverse of the frame) oil on panel with hand-carved frame 45 by 29½ in. (114.3 by 74.1 cm) Painted in 2013. USD 714, 000.00
Alexander Calder (1898-1976) Tic Tac Toe signed with initials ‘CA’ (on the largest black element) standing mobile--painted sheet metal, rod and wire 42 by 32 by 20 in. (106.6 by 81.2 by 50.8 cm.) Executed in 1941 USD 3,035,750.00
Pablo Picasso (1881 – 1973) Tête de Femme Signed Picasso (lower left) Oil on canvas 25 5/8 by 21 3/8 in. (65 by 54 cm) Painted on March 12, 1935. USD 39,925,000.00 Claude Monet (1840 – 1926) Le Palais Ducal Vu de Saint-Georges Majeur signed Claude Monet and dated 1908 (lower right) oil on canvas 25 1/2 by 39 1/2 in. (65 by 100cm) Painted in 1908. USD 16,600,000.00
Gerhard Richter (b.1932) Abstraktes Bild signed, dated 1986 and numbered 599 on the reverse oil on canvas 118 3/8 by 98 5/8 in. (300.5 by 250.5cm) USD 46, 400, 000.00
Alexander Calder (1898-1976) Six White Dots Over Blue, Black, and Red standing mobile - painted sheet metal and wire 42 x 24 x 22 in. (106.6 x 60.9 x 55.8 cm.) Executed in 1948. USD 5,387,750.00
ART APPRECIATION Dr Zakaria Ali Art historian via sms during Hajj, All this money, so otherworldly, from a pilgrims point of view.
Zamani Zakariah Noor
country from the perspective of profiling
One can consider
Malaysia should seek possession of these
our art collection as well as profiling NAG,
placing the artworks
masterpieces first, since the US DoJ has verified that
and making NAG as an international art
into the MACC
these works of art have been bought using monies
gallery attraction, a tourist attraction and
museum, if it plans to
from 1MDB.The US DoJ had, much earlier, even
a milestone point of revenue generation
do one. Their original
during the previous BN government, informed that
with valuable masterpieces.
significance as art objects will of course
they would recover all funds and assets and return the monies and assets to the people of Malaysia.The
A non-Malaysian art museum
shift given newer
BN government then, for whatever reasons then,
professional
contexts. Such
was mute on this offer and assistance.
“The neutral way is to auction off and
displays can illustrate
recoup the money, ‘untuk rakyat’ ikut
the sheer importance
As to the 1MDB monies recovered by the DoJ, these
cara Guan Eng. ... Can’t see any
of the events for the
could be claimed and requested for electronic
situation Malaysia should keep them.
public as lessons of
transfer into Malaysian government's bank
The works may not be something that
history, but will it form
account.As for permanent fixed assets, like the
can meaningfully be part of National
an injustice to the
properties in Beverly Hills, New York and London,
Collection of Art, if such a category is
works themselves as
these cannot be moved and transferred. So the
present.”
objects of art? More questions ...
Malaysian government can take over rights of
Vincent van Gogh (1853-1890) La Maison de Vincent à Arles: page of a letter from Vincent to his brother Theo (verso) signed ‘Vincent’ (verso) pen and ink on paper 5¼ by 8 1/8 in. (13.4 by 20.6 cm) Executed in Arles, September 1888
possession and dispose these properties at site, via
These are important artists of history.
offers for sale or auctions.As for the paintings, these
But The comments may have a point. If
Chng Huck Theng
are movable assets
art investment is part of 1MDB’s
Artist former Board Member of NAG These are
mission, the assets should be seen
acquired through stolen monies from the rakyat so it
distinct from National Collection given
should not be treated as if an asset of Malaysia. It is
the items are to be traded accordingly
just like the super yacht... it should be sold and
responding to the ups and downs of
money recovered to be used to fill back the holes
Any step to recover the monetary equivalence of
the market. Their place in any
that these perompak has done to the country. It is by
these art masterpieces is to be decided later. That
institutional collection here will invite
no means national collection, it is only there because
is, if they are to be sold off through auction, the
queries into its integrity as a defined
the previous government was incompetent and the
auction could be done in Malaysia by the world
collection. I think one can’t even argue
people's money was robbed.
renowned auction houses. Whether these are to be
for auction proceeds to be used for
auctioned later or to be retained in Malaysia's long
building a national collection. The
term possession, these paintings should be put on
funds has a clear function for national
display at the National Art Gallery to position the
investments.
“I dont know what will happen with the artworks. Don't know when we will be able to get it back, if we can get it back”. Tony Pua
The Malaysian government should make claim to them and take over possession, with the view of bringing them back to this country immediately.
Member of Parliment Malaysia Ref: Matt Plescher “High and Low Art” 2013 in www.therapidian.org Kelly Crow at kelly.crow@wsj.com and John Letzing at john.letzing@wsj.comJuly 22, 2016, print edition as 'Art-World Whale in the 1MDB Net. Marion Maneker Art & Money Laundering, It’s Not as Easy to Catch as the Press Might Think February 8, 2017 www.artmarketmonitor.com Ahmad Fuad Osman CLOSE-UP ( on the art of collecting) installation with book, 2017 Interviews via friends of NAG via sms throughout August 2018
ARTSCIENCE
SPHAERA
Incubation Program
Ruzaika Omar Basaree DNA Red Series (2018) Digital Print on Canvas, 183cm x 183cm
Description of Program I N C U B A T I O N
P R O G R A M
SPHAERA kickstarts a four phase incubation program that will take place over a two year period. The program offers a platform for artists and scientists to collectively prospect what are principle questions and methods that can lead to imaginative research. The program reflects the University of Malaya’s larger mission to foster collaborative and cross-disciplinary thinking in the hope that new
Imagination In The Sphere Of Mere Physical Existence 15th August 2018 - 30th September 2018 Piyadasa Gallery UM
knowledge horizons might offer other more insightful and
T
meaningful ways of understanding our place in the world.
(visual, mathematical, or verbal) and
“All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and l eading the individual towards freedom”
free-thinking (ability to work with
Albert Einstein, Out of my Later Years, 1967
2018 Piyadasa Gallery UM
he 13th century Sufi poet, Rumi, once suggested that humankind possesses two
forms of intelligence. The first is acquired knowledge through book learning. The second is a kind of hard-wired wisdom, described using the metaphoric imagery of a flowing fountainhead. In a sense, every idea is borne of marriage of these two forms of intelligence. Since every idea is built on an accepted string of assumptions, often these are unproven premises that allow us to make certain leaps in the imagination. The combination of logical thinking
Initially, six (6) artists are chosen to take part in this program. The artists consist of established and emerging artists explore methods and ideas from both science and artistic disciplines in various mediums. The thinking process will be documented in scholarly articles, which will be disseminated through publications and a series of talks. Imagination In The Sphere Of Mere Physical Existence 15th August 2018 - 30th September
unproven assumptions or imagination)
The artists are:
may lead to critical questions and
Jeganathan Ramanchandram
speculative conversations. It creates the
(Multidisciplinary Artist)
condition for thinking productively rather
Lim Kok Yoong
than reproductively.
(Installation/Video Art) Lyne Ismail (Painter)
Since the 18th century, the arts and
Nik Syahida (Print Making)
sciences were increasingly viewed as
Ramlan Abdullah (Sculpture)
two separate and distinct disciplines with
Ruzaika Omar Basaree (Digital
their own particular models, methods
Print)
and approaches to intellectual inquiry. However, the divide between art and science is increasingly being argued to be false and unproductive. One of its
This program is divided into 4 Jeganathan Ramanchandram Momentous - RED (2018) Acrylic and Sand on Canvas, 152cm x 152cm
phases in 24 months duration. 1st. July 2018 - June 2020
advocates is no order than Nobel Laureate for Physics, Albert Einstein.
38
Written by
Dr. Roslina Ismail The Sphaera Group Cultural Centre University of Malaya
39
ARTSCIENCE
Reconciliation Through Collaborative Methods by D R L A K S H M I S E L V A R A T N A M & PROFESSOR PETER ABRAHAMS
Art-Science Divide? Is there such a thing? Does it even exist except perhaps in the minds and machinations of middle school bureaucrats and higher education administrators? And can ever the twain meet? But then again, perhaps you may not have met Professor Peter Abrahams, on the one hand a Professor Emeritus of
I
n earlier eras, however, any scholar worth his or her salt, at the feet of his
Clinical Anatomy at the Medical School
sifu or guru, was exposed to an
at Warwick University and on the other,
impressive array of the so-called
an expert on Renaissance figurative art. In
art/humanist subjects; be they
my mind, Professor Abrahams is the
writing or oratory skills in a
living embodiment of the Art Science
local/home language, learning a
reconciliation. Equally at ease, whether
foreign language (or two), reciting
highlighting clinical anatomy applications
from classic, albeit dead
to enthusiastic would be surgeons in an
languages (think Latin, Sanskrit),
anatomy laboratory or explaining the
taught to appreciate and critique
intricacies of Da Vinci’s drawings to a
literature including elocuting
distinguished audience at Buckingham
poetry or pantun to perfection,
Palace, Prof. Abrahams spans that divide
imbibing fine art skills such as
without pausing for breath.
sketching or dabbling in painting, developing competencies in the
Over the last century have arisen
performing arts through playing
increasingly entrenched education
musical instruments, composing
systems - whether in Malaysia or
music, indulging in social dance
elsewhere - which have influenced and
forms of the day and even
overseen the alarming divergence of art
attempting acting in plays or local
and science curricula. It remains to be
wayang. On a temporal scale, this
seen whether such a separation is
immersion in the arts occurred
fuelled by the unprecedented demand
typically either before they
for and exponential growth in education
embarked on or sometimes
for the expectant masses, or by hungry
concurrently with the study of
economies’ feeding frenzy for science
mathematics or ‘hard’/natural
and technology sustenance.
science disciplines.
From the science perspective, Prof.
An intriguing fact about Prof
With progress and productivity, such
Abrahams is a dedicated, enthusiastic
Abrahams is that, originally coming
art-science coupling in education has
award-winning medical educator (UK
from a purely arts background, he
become disconnected and even derailed,
National Teaching Fellow no less), a
only decided to switch track and
dare I say, from the noble intended
passionate proponent of education
study medicine after a stint during
target of developing holistic all-rounded
technology and a NHS family doctor to
students. But I digress.
boot for over 40 years. Interestingly, his parallel involvement in art history
Now coming back to the intrepid Professor Abrahams. Never did I imagine 25 years ago when I first cast eyes on Leonardo Da Vinci’s amazing anatomical drawings at
extends over three decades including teaching anatomy for artists at the Slade School of Fine Art in London.
the 1960s as a volunteer English teacher in the jungles of Ulu Sarawak (2 hrs from Sibu!). This experience made such an impact on him, it changed the course of his life. To this day, he faithfully meets up with his old students in Sibu and they give
Furthermore in 2012, in conjunction with
him the greatest accolade of all –
the London Olympics, Prof. Abrahams
after 50 years, they still call him
Prince Harry and Meghan Markle, lest we
oversaw a Da Vinci art exhibition at
‘’cikgu’’!
forget), that they would eventually become
Buckingham Palace and another in
the subject of a distinguished public lecture
Holyroode Palace in 2013 for the
This year, things came full circle. Prof.
Edinburgh Festival. Currently, he is also
Abrahams returned to his Malaysian
advisor to the Fitzwilliam Museum of arts
roots to talk about the significance of
and antiquities in Cambridge and the
Da Vinci’s anatomical drawings to a
Windsor Castle (recent wedding venue for
by him held 10,000km away in Monash University Malaysia earlier this year.
Uffizi Gallery in Florence on the anatomy of Renaissance sculptures.
packed lecture theatre at Monash Malaysia and to highlight how they remain still relevant to art, anatomy and medical imaging after more than 500
40
years.
So as teachers of the subject, we
In anatomy, studying the structure and organisation of the human body enables us to appreciate its
consciously incorporate simple art
function, both in health and disease. From a student’s perspective (typically hailing from a purely science
techniques into anatomy practical
pre-university background), this learning process entailing visualisation in both two- and
tasks for medical students; this
three-dimensions can be a frustrating and complex journey during medical school days. Some of this
includes sketching of organs and
image reconciliation, processing and integration occurring in the frontal cortices of the brains of students
neighbouring structures, drawing
can take years to build. Moreover, whilst in a clinical context or setting, students need to translate that
detailed schematic diagrams of cells
mental picture of human anatomy when examining a patient, viewing an x-ray/ CT scan or orienting
and tissues and illustrating sectional
internal body tissues during surgical operations.
views of body structures, often annotated with identification and orientation labels. Subsequent explanation and discussion of such drawings within small groups or projection and presentation to a larger
So as teachers of the subject, we consciously incorporate simple art techniques into anatomy practical tasks for medical students;
cohort, enables students to collaboratively learn this subject
this includes sketching of organs and neighbouring structures, drawing detailed schematic diagrams of
through such visualisation techniques.
cells and tissues and illustrating sectional views of body structures, often annotated with identification and orientation labels. Subsequent explanation and discussion of such drawings within small groups or
Students are also expected to map out
projection and presentation to a larger cohort, enables students to collaboratively learn this subject
projections of internal organs on to the
through such visualisation techniques. Students are also expected to map out projections of internal
skin of the body by techniques such as
organs on to the skin of the body by techniques such as surface anatomy marking with dermato-graphic
surface anatomy marking with
pencils /marker pens or body painting with body paints. Anatomy can also be depicted and perceived
dermato-graphic pencils /marker pens
visually in near-realistic planar, 3-D or rotating images through software, videos, animations as well as
or body painting with body paints.
more recently, via Augmented and Virtual Reality tools.
A
natomy can also be depicted
Such structured art training
and perceived visually in
involving introspection,
near-realistic planar, 3-D or
observation and interpretation
rotating images through software,
at an art museum was based on
videos, animations as well as more
the “Artful Thinking” approach
recently, via Augmented and Virtual
(developed by Project Zero at
Reality tools.
Harvard Graduate School of Education). Students
Interestingly, arts and humanities are
subsequently improved their
increasingly being integrated into
visual literacy and vocabulary
medical education to enhance
used in artistic and observation
observation, empathy and critical
descriptions, suggesting that art
thinking. Introduction of an art program
training can teach them to
amongst medical students has been
become better clinical
shown to convey pattern recognition
observers.
skills and develop awareness of multiple perspectives (Shapiro et al,
Looking forward, more could be
2006).
done to actively promote integration of art with medicine
A randomised controlled study this
and with other STEM disciplines at
year by Gurwin and others reported a
the tertiary education level.
significant improvement in clinical
However, support is urgently
observational skills of medical students
needed to facilitate a groundswell
who had attended a formal art course
of any bridging art-science
compared to those who had not.
initiatives including having art-science champions such as Professor Abrahams inspiring a whole generation of artists and scientists alike.
Leonardo Da Vinci Did his 15th Century artistic visions inspire 20th Century Nobel Prizes in Medical Radiology? by D R L A K S H M I S E L V A R A T N A M & PROFESSOR PETER ABRAHAMS
L
eonardo da Vinci, one of the greatest artists of the Renaissance period, was also one of the greatest anatomists ever to have lived. He personally dissected
more than 30 human corpses to explore every aspect of anatomy and physiology, and recorded his findings in drawings of unparalleled beauty and lucidity. Had he published his researches as intended before his death in 1519, Leonardo would have transformed scientific knowledge of the human body. This lecture
will present 30 of his finest sheets of studies, when he was reportedly working alongside the professor of anatomy at the University of Pavia. He was fascinated by the challenge of depicting a complex, layered, three-dimensional and mobile structure – the human body – in a static two-dimensional image, and devised many unique illustrative techniques and concepts to achieve his aims. Many of Leonardo’s original drawings from the 1500s are strikingly similar to our modern medical images. Leonardo’s stunningly detailed anatomy drawings from the Royal Collection will serve to illustrate concepts in artistic design not realised in medicine until the advent of 3D CT and MR radiological scanning within the last 40 years. This lecture will show how astute, accurate and significant were Leonardo’s researches, and how little the detailed knowledge of human anatomy has actually changed in 500 years
41
INDUSTRI KREATIF
Melonjakkan Sektor Seni Budaya Malaysia ke Peringkat Antarabangsa
K
uala Lumpur – Julai 2018:
Berucap di majlis tersebut, Puan Izan Satrina
YB Tony Pua juga mengulas: "Agenda
Organisasi yang ditugaskan
Mohd. Sallehuddin berkata: "Acara pada hari ini
nasional bersifat jauh ke hadapan dan
untuk membangun dan
merupakan satu senario perayaan seni dan
bukan sahaja merangkumi kepentingan
mempromosikan sektor ‘Seni
budaya yang sungguh luar biasa, pelbagai dan
tema pertumbuhan ekonomi, fiskal
dan Budaya’, CENDANA kini telah
unik
perundangan, keselamatan dan
memulakan langkah yang positif dalam
di Malaysia, ianya tentang melonjakkan seni dan
tanggungjawab alam sekitar.
memupuk bakat-bakat anak seni Malaysia
budaya ke hadapan serta memelihara pelbagai
dengan menawarkan 16 geran di bawah
disiplin seni budaya budaya agar generasi yang
‘Program Pembiayaan Inkubasi Artis 2018’
akan datang dapat menikmatinya, baik di
bernilai hampir RM 250,000.
peringkat tempatan mahupun antarabangsa. Tanggungjawab kita terhadap rakyat dan artis
Dana tambahan sebanyak RM 205,000 juga
Malaysia melibatkan CENDANA memupuk bakat
telah diperuntukkan kepada artis-artis
dan kreativiti anak tempatan.
Malaysia yang telah diberi peluang yang sangat menarik dalam mempamerkan seni
“Satu perkataan yang biasa anda akan dengar di
dan budaya Malaysia di pentas
CENDANA adalah ‘kepelbagaian’ dan tiada
antarabangsa.
contoh yang lebih baik jikalau kita lihat penerima-penerima dana kali ini – ianya
Bersempena majlis khas pengumuman geran
merangkumi penerima Pembiayaan Inkubasi
yang bertempat di Publika Kuala Lumpur,
Artis yang baru mahupun seni dan tradisi yang
CENDANA memaparkan dua sisi pendekatan:
telah wujud sekian lama. Ini termasuk gerak kerja
pertama, para penerima geran memperoleh
oleh Juvita Wan – “The Sound and Sights of the
manfaat dalam menyalurkan lebih banyak
Orang Ulu” yang memaparkan keunikan Orang
masa dan usaha serta kepakaran untuk
Ulu menerusi pameran yang berinformasi dan
membina karya seni mereka ke persada
menghiburkan; projek “Step Together” dari Poh
tempatan dan antarabangsa; dan kedua,
Gee Leng dari MyDance Alliance yang
memupuk perkembangan seni dan budaya
memperkasa pangarah tari yang berbakat dari
yang baharu.
Malaysia untuk membangunkan sekurang-kurangnya empat karya tari baharu
42
Majlis tersebut yang dihadiri oleh Ketua
melalui kerjasama rakan-rakan Asia Tenggara;
Pegawai Eksekutif dan Pengasas CENDANA,
dan projek “Belantara” dari Hana Nadira
Puan Izan Satrina Mohd. Sallehuddin serta
Mohamed Mazlam yang banyak meneroka,
tetamu kehormat, Yang Berhormat Tony Pua,
menceritakan semula dan menulis semula
Pegawai Tugas Khas kepada Menteri
cerita-cerita rakyat dengan menggunakan muzik
Kewangan.
asli dan “libretto”.
Definisi agenda nasional dan watak bangsa ditakrifkan melalui rakyatnya, melalui budayanya, melalui seni dan melalui tradisi dan watak tersendiribaik yang baharu mahupun lama. Usaha kerja yang penting dari CENDANA dalam meningkatkan status Malaysia sebagai titik tumpuan seni dan budaya di peta antarabangsa, di samping memberi inspirasi kepada sumber-sumber seni dan budaya demi merealisasikan potensi mereka sebagai pemacu ekonomi kreatif adalah sesuatu yang boleh dibanggakan oleh khalayak ramai dan penaja. "
by Dr Mumtaz Mokhtar
PEDAGOGY
Artists in Schools Malaysia
by Jumie Al idid
â&#x20AC;&#x153;Saya tidak pandai melukis, dan tidak yakin dan berminat untuk melukis. Tetapi, Puan Rozlina telah membuatkan saya yakin saya boleh melukis apa saja tanpa bimbang dan takut.â&#x20AC;? Dunia hanya boleh dirubah dengan motivasi. Itulah senjata Lyna Khairy: kegahan daya kreativiti, dan kejujuran semangat yang
K
Kesemuanya bermula di kotaraya New York sekitar 1970an: sekumpulan artis membuka kanvas dan berus-berus cat. Mereka mengajak orang ramai mengenal seni, melukis dan berseronok dengan warna-warna. Ia menjadi keghairahan baru.
Begitulah, idea yang baik mudah membiak subur. Selentur kreativiti, A.i.S boleh dicorakkan sesuai dengan usia pelajar dan kehendak suasana pembelajaran.Dimatangi kepelbagaian budaya dan keterbukaan kesenian, A.i.S menjalar lebar menjadi wadah dan wacana ilmu dan pengalaman seni artis profesional bersama masyarakat sekolah di serata rantau Amerika Syarikat, Kanada, Eropah, Australia, Afrika Selatan, dan beberapa pelosok Korea, Singapura, dan Hong Kong.
mampu memarakkan motivasi seni kira-kira 30 orang pelajar yang menyertai program Pelukis di Sekolah Malaysia (Artists in Schools Malaysia) atau A.i.S Malaysia di Sekolah Menengah Kebangsaan Tok Perdana, Sitiawan, Perak, untuk melukis dengan lebih yakin dan bebas.
Di Malaysia, ia bercambah hasil usaha Jumie Al Idid bermula pada Julai 2017. Bagi Unesco, A.i.S adalah satu landasan teras penjituan kreativiti warga dunia, seperti yang terpapar menerusi dokumennya "Road Map for Arts Education". Bagi Unesco, A.i.S boleh mengukuhkan pendidikan di sekolah. Malah, lebih dari itu, A.i.S, boleh mengasah ketajaman kreativiti dan set minda pendidik dan artis. Simbiotik: begitulah jaringan aneka kelompok masyarakat yang dihadiahkan oleh A.i.S. A.iS. melihat kebolehan dan keperluan artis menyertai jaringan masyarakat secara aktif: khazanah ilmu dan semangat mereka yang besar harus dikongsi dengan masyarakat khususnya generasi muda menerusi warna-warna lukisan dan perspektif. Pada waktu yang sama, artis juga berpeluang mengaut rencaman manfaat yang bernatijahkan penghantapan artistik dan kreatviti.
Cabaran
Tiada usaha murni yang tidak berhadapan dengan cabaran. Keterbatasan sumber wang yang serius di banyak sekolah untuk bukan saja menjemput artis tetapi menyediakan peralatan pendidikan seni adalah satu isu lama. Kepincangan ini boleh
Pelaksanaan A.i.S
Penilaian oleh artis terhadap beberapa hasil
menjejaskan pertumbuhan pendidikan seni secara formal
Sesi A.i.S di sekolah bermula dengan
karya pelajar mengakhiri sesi. Karya-karya
seterusnya motivasi para guru dan pelajar di dalam bidang
perkongsian ilmu artis. Artis juga
pelajar dinilai dan pandangan-pandangan
tersebut.
merapat-rapatkan diri dengan pelajar
positif dan progresif diberikan. Para pelajar
membuka ruang kepada anak-anak
melihat sesi penilaian oleh artis profesional
muda
dengannya.
ini bukan saja sebagai satu pengalaman baru
Kespontanan ini pastinya memecah
yang menyeronokkan malah sangat penting
monotoni rutin pembelajaran yang
dalam perkembangan kerjaya mereka di
amat dinanti-nantikan oleh pelajar.
masa hadapan.
Sesi
tugasan
Semuda ini, seni visual mnjadi fokus A.i.S.
memahirkan diri dan berkreatif. Sang
Seni visual adalah genre seni yang kerap, jika
Namun, hasil A.i.S masih terus memberangsangkan. Di setiap sesi
Sifu
tidak satu-satunya,
bersama artis, para pelajar ternyata ceria dan beriya-iya untuk
berjinak-jinak
Bagi Ismail Kadir, salah seorang artis jemputan A.i.S yang juga artis cat air terkemuka sedunia, A.i.S wajar diteruskan: "Pihak kerajaan perlu menyokong pembiayaan kewangannya untuk menjamin kesinambungannya," suaranya setelah selesai A.iS di Sekolah Menengah Panji, Kota Bharu, Kelantan. â&#x20AC;&#x153;Sektor korporat boleh berperanan dari sudut Tanggungjawab Sosial Korporat (CSR) yang lebih ketara di dalam menyokong usaha ini.â&#x20AC;?
seterusnya:
sesi
memahirkan
para
pelajar
diberi perhatian di
dengan
kemahiran
serelevan
sekolah-sekolah di Malaysia. Sejumlah 10
berseni-seni,
ajarannya.
Ada
berbentuk
buah sekolah telah menyertai program ini
pembangunan seni di sekolah dan lebih penting lagi, kreativiti.
teknikal dan ada juga yang lebih
termasuklah beberapa buah sekolah di Kuala
bebas dan terbuka. Setiap artis
Lumpur, Melaka, Perak, Kedah, Pahang, dan
punya
Kelantan.
yang
pandangannya
yang
Di antara sekolah-sekolah yang pernah
melakar,
anak-anak
murid
artis
meninjau
tekun dan
terlibat
petanda
yang
amat
positif
ialah
Kebangsaan
Sekolah
Ade
Putra,
Menengah Masjid
Tanah,
memantau. Si artis membimbing
Melaka, Sekolah Menengah Kebangsaan
apabila diperlukan samada secara
Taman
peribadi atau berkumpulan. Dalam
Menengah Kebangsaan Hutan Melintang,
keadaan terentu, guru-guru kerap
Hutan
membantu menjadi pemudah cara.
Menengah Seri Lipis, Kuala Lipis, Pahang.
Maluri,
Kuala
Melintang,
Lumpur,
Perak,
dan
Sekolah Sekolah
ke
arah
Untuk maklumat lebih lanjut mengenai A.i.S. Malaysia, sila layari
www.artistsinschoolsmalaysia.com.
tersendiri. Itulah kreativiti. Ketika
satu
AFTER 10
Pursuing A Dream by Rohiman Haroon
A
rt and the act of appreciating
He did it his way, unperturbed with the bitter
art are two of the same
challenges that came through his way. He saw
journey.
a
every challenge as an opportunity to change the
pre-destined journey for as long as there
art community and landscape he was struggling
are acknowledging masses and crowd that
with for a better future. Now looking back, A.P Art
continue to appreciate the beauty, colours,
Gallery has come a long way to do its bit to help
sound and emotions of an artwork, or the
fellow artists who were struggling to make ends
strokes of the brush and all the aesthetic
meet. Some of them, who came under his
values that art may bring out and conjure in
tutelage, have now become masters of their own
one’s mind.
right and class.
Art
is
not
Art is a movement, a revolution of the mind and creativity, as it moves people, both artists and the audience, intrinsically for as long as emotion of appreciation and objective mind are at play, peering over a
prized objet d’art. For this reason, A.P Art Gallery has never stopped believing in this journey although its operation saw a hiatus of almost a decade, total absence from the art scene as it trudged along a lonely less travelled road without little or no activity at all. During its hey-day in the 80’s when Rahime Harun, the founder and art entrepreneur ran his art business, delivering small art pieces that could fit into his ramshackle 1.3cc Honda City vehicle, to buyers and collectors in prominently wealthy precincts downtown Kuala Lumpur or Petaling Jaya, he was at the same time meeting artists, masters or young contemporary artists, persuading
Ahmad Khalid Yusof - Surat Cinta, print 1990
them to sell their artworks so that they could fetch better prices. As his business
Rahime’s demise left the art scene in fettered
grew in the 90’s, he paved the way to exhibit
silence with art pieces becoming antiquated,
both masters and young contemporary
undisturbed and all dusty until the National Art
artists at reputable places when the affluent
Gallery organised a tribute exhibition of his
community of crème de la crème stature
collections “Koleksi Saya” later that year. The art
patronised his exhibitions.
scene somehow lost a good and abled pair of hands, sorely missed by artists and art aficionados
The journey that Rahime took was a long
and collectors. Rahime once told this writer: “How
and
and
I wish I could live a hundred to see these paintings
obstacles at every turn, nook and cranny but
hang in my own museum.” He died at the age of
he weathered through thick and thin until his
54, still pinning hopes for that dream to realise.
winding
demise in 2008.
44
road,
with
bumps
How I wish I could live a hundred to see these paintings hang in my own museum.
Although Rahime did not live to see his dream to build his own museum, his daughter Nazura Zahian intends to carry his legacy and continues the journey, knowing there will be both opportunities and challenges ahead. This is the reason she is reviving and relaunching A.P Art Gallery at the current shophouse in Taman Melawati this September. Although it cannot be defined as an outright museum, Nazura is starting it small and slow – a gallery that has many big names in the art fraternity. Nazura is determined to pursue her father’s dream. Pursuing A Dream is so apt for Nazura as she remembers it being one of the successful exhibitions that his dad had organised which bore the same theme. There is connectivity between the journey Rahime first took and the pursuance of the dream that Nazura has in mind, but perhaps taking in a larger perspective in terms of participatory audience.
I
n a larger perspective, Nazura intends
To achieve this, Nazura attempts
“There has to be enough access and space for
to bridge the community through art.
to close the art divide between
art appreciation amongst children and youths.
For her, the art scene in Malaysia
the learned and art illiterates by
And there are plenty of opportunities if art
needs to be seen as something that
organising a series of art talks, art
promoters do more for these target groups in
feeds and dwells on the palate for everyone. Art
workshops, art classes for all
schools, youth clubs and universities,” she
for the, community. Art for everyone, she says.
ages and multi-disciplinary art
reiterates, adding that the act of planting seeds
activities i.e. via music, poetry,
of interest in art will provide double-edged
She steadfastly believes art is no longer for art’s
fine art and even a space for film
benefits to the future generations as they will
sake and that it must be appreciated by all levels
viewing at her gallery. Through
not only be able to appreciate art, they will
of the community and not just for commercial
the
art
probably be future artists and art patrons as
value that art pieces may fetch. Following the trail
activities,
the
well. This will truly be an investment for art and
of his father, she opines that the art landscape in
convergence of art will allow
Malaysia can fare better than just having art
space or an art colony to set in
pieces picturesquely hung in art galleries or kept
for the creative minds to work
Apart
in the homes of the wealthy. These art pieces are
and play especially when it
community through art, Nazura intends to
national treasures and they are best shared with
tangles with music elements,
create a platform of collaboration between the
the community who needs to understand and
poetry, mural drawing and not
artists, masters or young contemporaries, to
appreciate an artwork or a painting and the
just purely paintings or other
create an avalanche of works produced by
persona of the artist who painstakingly creates
artworks.
artists who have multi-disciplinary skills sets
multi-disciplinary she
believes
not just art for investment. from
her
mission
to
bridge
the
and experience to see the promotion of art is
the master piece.
By the vehemence of this belief, Nazura envisions that art should be appreciated by everyone that every person, irrespective of race and creed, young or old with abled bodies or disabilities and physically challenged must have access to the art scene. “And art pieces should be affordable, too,” she says with a gleam in her eyes.
A
taken to the right direction. “I also wish to collaborate with budding and young contemporaries who will be given the space to exhibit their works. And of course, there will be exhibitions for art masters whose newer works have gone unnoticed under the public eye,” she adds.
s for plans at A.P Art Gallery, Nazura plans to carry out exhibitions every quarter presenting new artists alternating with the gallery’s collections. The first installation entitled Eulogy, the first in the series of exhibitions, will be held from September 29 till December 31, a tribute to Rahime’s vast collections, with 29 pieces of works by 20
artists. This exhibition, curated by Nur Hanim Khairuddin, is significant as it etches an important milestone in the comeback of A.P Art Gallery into the nation’s art scene. More importantly, the show will feature great Malaysian artists of the past, namely Abdullah Arif, A.B Ibrahim, A.J Rahman, Ahmad Khalid, Chuah Thean Teng, Joseph Tan, Khalil Ibrahim, Dzulkifli Buyong, Patrick Ng, Nik Zainal Abidin, Ismail Zain, Ismail Mat Hussin, Syed Ahmad Jamal, just to name a few. Their works manifest defining periods of the time these artists lived and worked. This is a significant show because it will be a pertinent source of knowledge on the past artists and their artworks as much as it will delight and inspire other artists, art historians, scholars and art enthusiasts. For Nazura, she hopes the show will be the conduit to connect the common people from all walks of life for them to start appreciating what is known as art. And now, that’s what bridging the Abdullah Arif - Niagara Falls, water colour 1960
community through art is all about!
45
AFTER 10
K
IN MEMORIAM
halil Ibrahim,, has left an enduring legacy as a
Khalil Ibrahim
quintessential artist working in batik, oil, acrylic, pastel, watercolour, goache, ink (pen) and pencil.
His works since his formal art education at the St Martin’s School of Art in London in 1960-1963 when he studied for his National Diploma in Design, have been about people, symbolized by the fishermen, working in unison, and the qualities of camaraderie, hardwork, determination,
(1934-2018)
and humility. He followed up with a year in post-graduate studies, majoring in Painting. He returned to Malaysia in September 1966. The figures, often faceless and anonymous, have loomed large in his oeuvre, showing off his immaculate foundations in anatomy, musculature et al.
by Ooi Kok Chuen
Fishermen with glistening bodies in the sunlight, and only in loincloth or sarong and the women folk with blouse and sarong, are separately shown, working with alacrity on the beach front, after the day’s haul in the deep sea. Born in Kuala Kerian, Kelantan, in 1934, Khalil first had informal art classes under schoolteacher Nik Mahmud Idris in 1945-1947. In his batch were also Yusoff Sulaiman and Nik Zainal Abidin. Khalil broke into national prominence when his oil painting of fishermen pushing a boat won the 2nd Prize in the Malayan Life competition organised by Lever Brothers in 1959. His prize came with a RM500 award. The prize cinched Khalil’s winning a Pahang State scholarship to leave for London for art studies that September. He was also strongly recommended by the Temerloh district officer Claude Gibb Ferguson.For all his formal training and exposure to European art, Khalil surprised many when he opted for batik painting on his return. He started doing batik painting in October 1967, learning the rudiments from Yusof Abdullah. In his first solo organised by the Samat Art Gallery and held at Balai Ampang, Kuala Lumpur, in February 1968, he showed his England drawings and gouache, and his newly learnt batik paintings. In December 1968, he had a solo exhibition exclusively devoted to batik painting, at the Samat Art Gallery. It was his second solo. His standout piece was called The Last Supper, with its cracked textures reminiscent of Byzantine mosaics. Khalil’s central theme is about the vitality of ‘Movement,’ with fishermen with sinewy bodies and with the East Coast in his bones.
Pantai Timur –East coast 1978 Batik 111 x 126cm Koleksi Balai Seni Negara.
O
Shireen Naziree
n June 6, 2018, Shireen Naziree, art historian, writer and curator passed away in Kuala Lumpur.
Shireen worked closely with the National Art Gallery of Malaysia and served two terms on its Board of Trustees. A native of South Africa, Shireen received her formal art education in her home city
(1947-2018)
and then in the UK. She was passionate about South East Asian art and culture and became a dedicated ambassador of Malaysian and regional art. Her ability to appreciate art in all forms and from all generations was testimony to her knowledge and expertise beyond
www.shireennaziree.com
aesthetics or the sensorial pleasures of the human eye. Shireen had an innate sense of empathy and could relate to the messages and stories evoked in the work of many artists. Her most noted exhibitions at the National Art Gallery were ANTARA MERDEKA (2007), FOOTSTEPS (2004), REVIVAL Evoking the Batik Tradition (2004) A.D. Pirous WORDS OF FAITH (2003) and UBUNTU (2002). As an independent curator she produced 40 publications, curated exhibitions for other galleries in the region, gave papers and lectures and advised a selected group of private clients. Shireen’s mixed cultural heritage and lifestyle was the Photo by Raymond Ho
46
undercurrent of her tacit dedication to building bridges in the arts and in particular to exposing Malaysian and Asian art at large to the rest of the world. In 2003 she travelled with the National Art Gallery and took Of Shadows and Images to Malmo, Barcelona and Madrid. Shireen truly believed in the power of art to unite, investing all her expertise, devotion and creativity to connecting artists, art spaces and audiences. By Narita Naziree & Kartika Naziree
AFTER 10
IN MEMORIAM
O
ur former Chairman of the National Art Gallery, Malaysian
personality
Dato’
Mahadzir
Lokman,
affectionately known as Dato’ Dale or DD, passed away peacefully on the 3rd of August 2018 in Tanjung
Aru, Kota Kinabalu, Sabah. Celebrated as an iconic figure of the entertainment industry, he personifies what a true multicultural 1Malaysia is supposed to be. Mahadzir’s flair for languages and his knowledge of cultural
Mahadzir Lokman (1957-2018)
etiquette has made him a much sought after Master of Ceremonies (MC) at functions, both local, national and international, as well as at
dalemahadzirlokman.com
social, corporate and government events. With Bahasa Malaysia and English as his base languages, Mahadzir’s exposure to this first foreign language, French, come at a tender age whilst he was still in primary school in Malaysia. He was also fortunate enough to gain firsthand experience of the French language and local culture while his family was living in Paris from 1978 till 1983, when his father, the late Datuk Lokman Musa was appointed the Ambassador and Permanent Delegate for Malaysia to the UNESCO. In pursuing the study of French in Malaysia as well as overseas, Mahadzir’s mastering and love for the language has seen him introducing the language in Malaysia through the course of his work. He also has the basic knowledge of Spanish, Italian, Portuguese, Greek and Japanese. In line with his work as a television presenter and as the host of various local variety programmes on the Malaysian TV networks, Mahadzir also started to introduce basic conversational French to the Malaysian public. Mahadzir was involved in many events to promote peace globally, namely the Walk for Peace; the World Peace Congress; Konsert Kedamaian or Concert for Peace; and a Board Member, for the Malaysian AFS Intercultural Programmes, a student exchange to
Photo by Layzhoz Yap
promote world peace programme. In recognition for his work, Mahadzir was awarded the Darjah
and friend. Wan Zaleha revealed that Mahadzir sang Kopratasa’s hit
Indera Mahkota Pahang (DIMP), Pahang state award in 2007, by HRH
song Kekasih based on literary giant Datuk Usman Awang’s poem of
The Sultan of Pahang and the Kesatria Setia Diraja (KSD), a Federal
the same name beautifully, for an episode of Majalah Tiga in the
Royal award conferred by His Majesty The 10th Yang Di-Pertuan
mid-1980s which focused on Usman’s contributions to Malaysian
Agong. He was awarded the ‘Ordre Les Palmes Academiques” by
literature.
the French Government in 2006 for his effort in promoting French
approachable and never failed to oblige when invited to launch big
Language and Culture. He was also awarded numerous awards,
or small exhibitions . During his tenure as Chairman, The National
among them, the Best Newscaster/Broadcaster Award in 1999 by
Art Gallery has had the pleasure of his stewardship in national art
Monsieur Magazine
programs including the 1 MCAT (Malaysia Contemporary Art
and the Quintessential Man of the Year Award 1998 by the Malaysia
Festival) and the Kuala Lumpur Biennale 2017.
Artists
recalled
that
Dato’
Mahadzir
was
very
Tattler, and recently the Ambassador for Peace 2009. His primary schooling began at the Methodist Boys’ School in KL, then the Sultan Abdullah School in Kuantan, followed by his early secondary schooling in Sabah College, in Kota Kinabalu and finally in Victoria Institution in Kuala Lumpur.
W
here do I even begin? I grew up with you in 1986 at the TV3 newsroom. I began as a wardrobe coordinator preparing your tie, hanky, shirt and jacket. You're particular with what you're wearing and would give us
Dato’ Mahadzir had touched the lives of many people in the
a piece of your mind if it didn't look right. 3 months down the road I
entertainment industry including Maya Karin, who said that the late
began to do reporting and henceforth anchored the news with you.
Dato’ had been very kind to her in the early days of her career. He won the hearts of many with his humility, compassion, knowledge and good humour.
P
roducer Puan Sri Tiara Jacquelina described him as her mentor in emceeing, who “threw her into the deep end” when he made her host an event for the Sultan of Pahang in the early 1990s. Tiara also said that
Mahadzir excelled in music and acting, and gave strong support to musicals which she produced, such as P. Ramlee and Puteri Gunung
It was'nt easy. I was nervous each time I'm to read the news with you. Pronounciation, diction and research - you gave me hell, but hey, look what I've become. Thank you Abang Dale, thank you for giving me all the tips during the years. Thank you for the kindness, the laughter, the sometimes hillariously 'bitchy' moments, the strict 'mock runs' during training but most of all, for being a friend and an older brother. You were unique, and no one will be able to replace you ever (that's for sure). One other thing we'd miss would be you crooning and belting some melodious numbers whenever you had the mike in your hand. You were the 'king and queen' of events and would just get people to sing and dance. You were a life wire for
Ledang. He also starred in two English plays in the 1990s, Kuala
your family and friends, and that Abang Dale makes it harder for us
Lumpur Knock Out and Sarong. Actor and comedian Datuk Afdlin
all. you have left us, but memories with you will surely put a smile
Shauki said Mahadzir was a “super emcee” he looked up to. Former
and smirks on our faces.
Majalah Tiga host Wan Zaleha Radzi who read the 8pm news
The country, art, broadcast & emceeing fraternity have lost a gem.
Buletin Utama with Mahadzir, described him as a brilliant teacher
Ina lillah wa ina ilaihi rhojioon by Ras Adiba Radzi / Star / Bernama NST
Konservasi Bas-relief Masjid
Sultan Sulaiman Shah Oleh: Muhammad Hazrin bin Abdul Malek @ Mokhtar
Konservasi di Masjid Diraja Sultan Suleiman Masjid Diraja Sultan Suleiman yang terletak di Copyright © 2018 Suma Orientalis. All rights reserved.
W
here it was once
he became a city boy embracing
considered an
every aspect city life could offer -
eyesore, fast forward
rap music, baggy jeans,
a few decades,
skateboarding and spray can
street art now has gained
painting. Unbeknownst to him,
recognition for being the most
street art became the soul with
important artistic movement this
which he lived when he decided
century. From New York to Sao
to pursue art full time. Being
Paulo, it is now reclaiming and
trained by many except for a
redefining urban spaces
formal art school, his particular
everywhere.
brand arises without the constraints of formal teachings. He
Street art has its beginnings in graffiti
combines graffiti and doodles with
writings. In the neighbourhood of
the hallmarks of street art, cartoon
Queens to Bronx, its existence acts
like figures with a glorious stream
as territorial markers used by tribes,
of technicolor.
gangs and warlords to demarcate. In other words, it is a street signage
In this series of works spanning six
only the inducted could decipher.
years in the making, Donald lends
Yet its signature writing styles,
his signature style to the canvas.
vibrant and fanciful, were much
His storyline varies. At times,
favoured and copied by street
funny, at times dark and at times
artists. In the purest definition, street
wishful, a sparkle of spontaneity
artists paints on anything except
and a serving of “Chop Suey”
canvasses. But that was then as in
(Chinese style mixed vegetable
the olden days as many, including
dish) drive him to paint the way he
Jean-Michel Basquiat and
paints. Culminating every thought
Rammellzee, once buddies in arms,
he has inside his mind into a
have broken the code in pursuit of
cauldron of instances and sorts.
livelihood and fame.
The title to his paintings serves to delve the observer into his inner
Donald Abraham was born in the era
world. And when one could not
of Hip Hop music when
find his signature, “Yak” is his
breakdancing was the rage. Being
graffiti tag which appears
raised in a coastal village in Sabah,
repeatedly on his canvasses.
Jalan Kota Raja, Kampung Jawa, Klang dibina pada tahun 1932 dan telah dibuka oleh Almarhum Sultan Alaeddin Suleiman pada 1933. Masjid ini dirangka oleh seorang arkitek British iaitu Leofric Kesteven, F.R.I.B.A. dari Jabatan Kerja Raya. Sewaktu kedatangan British ke Malaya, kebanyakkan arkitek dan jurutera telah diberi latihan di India dan menjadi Inspirasi terhadap senibina Moghul. Maka hasil gabungan senibina antara Malaya dan British pada zaman kolonial dapat dilihat pada Masjid Diraja Sultan Suleiman. Masjid ini dibina pada era ‘Art Deco’ iaitu perantaraan perang dunia pertama dan perang dunia kedua. Ciri-ciri ‘Art Deco’ ini dapat dilihat dari segi dinding yang tidak diplaster dan diwarnakan. Selain itu ciri-ciri ‘neoclassical’ juga terdapat pada rekabentuk tiang ‘ionic’. Keseluruhan masjid ini berukuran 2.5 hektar dan mampu memuatkan kapasiti dalam 1200 orang. Terdapat 70 bahagian yang terdapat dalam masjid ini dan keseluruhan bahagian ini meliputi dari tingkat bawah, tingkat satu, menara dan lingkaran kubah masjid. Salah satu bahagian ini terdapat kawasan palung bercahaya yang terletak dalam menara. Palung bercahaya ini berada dalam ketinggian hampir 20 kaki dan terdapat motif hiasan dinding ‘bas-relief’. Kawasan ini dilengkapi dengan lampu dan cermin kerana motifnya terletak pada anjung menara dan tidak mempunyai pencahayaan daripada luar. Teknologi lampu dan cermin ialah sebagai refleksi cahaya yang akan menerangi motif hiasan ‘bas-relief’. Cermin yang digunakan pula telah dicatkan permukaannya dan berfungsi sebagai penapis cahaya ‘filter’ untuk membantu menaikkan tona warna dan refleksi bayang yang tidak ketara. Namun, pada tahun 1970-an, lukisan mural dan ‘bas-relief’ ini dilliputi dengan salutan cat putih semasa kerja renovasi dijalankan. Lukisan mural ‘bas-relief’ ini merupakan satu lukisan unik yang hanya boleh didapati dan dilihat di dalam seni bina masjid ini di Malaysia dan pada tahun 2012, masjid ini telah didaftar sebagai Warisan Kebangsaan di bawah Akta Warisan Kebangsaan 2005 (Akta 645). Justeru, Jabatan Warisan Negara dan Jabatan Kerja Raya (JKR) Negeri Selangor telah melantik Lembaga Pembangunan Seni Visual Negara untuk menjalankan kerja-kerja konservasi pada tahun 2016.
Chop Suey 2018 160x199cm Acrylic on Canvas
COLLECTION & HERITAGE
tertanggal dan hilang sahaja akan di isi dengan cat baharu dengan menggunakan kaedah ‘mimetic retouching’, pendekatan ‘Mora & Mora’s’ dan ‘Florentine’. Memasuki fasa pemuliharaan pencegahan atau dikenali sebagai Konservasi Preventif, salutan lapisan pelindung dijalankan setelah pigmen kering dan matang (48 jam) dengan selang (interval) setiap salutan selama empat jam serta tahap lapisan (layer) ditentukan mengikut lokasi mural ‘bas-relief’ yang terdedah dengan cahaya matahari dan kelembapan hujan. Kandungan salutan terdiri daripada bahan sintetik yang boleh berpatah balik (reversible) dan berlainan polar dengan
Konservasi Preventif salutan lapisan pelindung
bahan pigmen. Perancangan dan proses kerja bermula
bagi tujuan penyelidikan dari segi
dengan mengambil beberapa langkah iaitu,
peralatan dan bahan yang bakal
Kepentingan konservasi ialah untuk
pendokumentasian dan pemeriksaan teknikal,
menjadi keperluan semasa di lokasi
mengenalpasti, merakam, menganalisis dan
Konservasi Kuratif dan Konservasi Preventif.
masjid tersebut. Laporan keadaan
melindungi warisan dan budaya. Dalam arus
Dokumentasi dan pemeriksaan teknikal
karya dan cadangan rawatan juga
pembangunan yang semakin progresif,
dimulakan dengan rakaman fotografi bagi
disediakan mengikut tiga fasa iaitu
bangunan warisan merupakan tonggak dalam
mengenal pasti 70 bahagian yang perlu
cucian kering dan basah, pengukuhan
pemetaan sesebuah bandar yang
dipulihara dan susulan daripada itu ialah untuk
menggunakan lepaan kapur dan
mempunyai kepentingan budaya, nilai sejarah
mengambil bahan atau ‘sample’ dari sudut
acrylic putty serta integrasi semula
dan membentuk identiti sesebuah negara.
warna serta dianalisa dari segi pengunaan
imej.
Selain itu, kepentingannya dapat menjana
bahan warna tersebut. Secara spesifik mengenai dokumentasi, meliputi proses pengunaan
ekonomi dan secara tidak langsung Manakala pemuliharaan berkawal
membantu dalam kemajuan sektor
‘Infrared light source’ (IR) atau dedahan cahaya
atau Konservasi Kuratif ialah melalui
perlancongan negara. Apabila sesebuah
infra merah yang bertujuan untuk melihat
proses cucian kering dengan
bahan warisan dikenali dalam peringkat
kondisi catan di bawah imej-imej yang
menggunakan berus pada
antarabangsa, perkembangan teknologi dan
tersembunyi atau ditindan dibawah salutan cat
permukaan untuk menanggalkan
penambahbaikan menjadi diversiti dalam
putih atau warna asalnya. Hasil daripada proses
habuk dan kotoran. Kemudiannya
konservasi dengan penglibatan diaspora
ini dapat memberi info tambahan mengenai
cucian basah yang menggunakan
secara profesional. Pengetahuan dan
catan khususnya dari segi sejarah dan teknik
larutan bahan kimia dan dicampur
keberadaan bidang konservasi ini perlu
penghasilannya dan selepas dianalisa didapati
bersama kertas tisu hancur untuk
diketahui oleh masyarakat umum untuk
tiada imej-imej yang tersembunyi pada mural
menghasilkan komposit ‘cellulose
mewujudkan persefahaman untuk menjaga
berkenaan. Selain itu penggunaan ‘Ultraviolet
membrane’ yang bertindak sebagai
bersama-sama.
light’ (UV Light) atau cahaya ultra lembayung
ejen serapan untuk memudahkan
digunakan untuk mengenalpasti perbezaan
lepaan kapur ditanggalkan dan dikikis
antara cat asli dan cat baru. Lapisan warna cat
kemudian bagi menyerlahkan
asli boleh dilihat sama tonanya jika
kembali warna asli pada mural
dibandingkan dengan tindanan cat baru yang
‘bas-relief’. Kemudiannya untuk
menghasilkan tona lebih gelap. Proses
rawatan pengukuhan diaplikasikan
‘sampling’ merupakan salah satu proses dalam
untuk bahagian yang telah
pemeriksaan teknikal yang meliputi
mengalami kerosakan mekanikal iaitu
penggunaan Pengimbas Mikroskop Elektron
sama ada berlubang atau retak
(Scanning electron microscopes, SEM) berserta
dikukuhkan lagi dengan
dengan Tenaga serakan sinar-X
menggunakan komposit simen dan
(Energy-dispersive X-ray, EDX) dan analisis
kapur (plaster). Selepas itu, integrasi
pembelauan sinar-X (X-Ray Diffraction, XRD)
semula imej melibatkan penggunaan
yang menganalisa unsur bahan dan
pigmen warna kering dalam bentuk
mengenalpasti kandungan bahan dalam bentuk
serbuk yang dicampur dengan bahan
graf dan secara tidak langsung membantu
pengikat berasaskan air dan larutan
menjelaskan asal usul bahan tersebut.
organik telah dianalisa dengan kadar
Pembuatan ‘Mock-up’ juga dibuat atas
persamaan dengan bahan yang
permintaan dari pihak JKR Negeri Selangor di
digunakan. Selepas itu, kerja padanan
lokasi yang dipilih untuk dipersembahkan
warna dibuat ke atas helaian kanvas
kepada Pejabat Istana Negeri Selangor Darul
sebelum diaplikasi pada permukaan
Ehsan sebelum meneruskan kepada kerja
dan selanjutnya mengaplikasikan
konservasi keseluruhan. Sebelum itu, ‘Mock-up’
warna dengan pendekatan ‘minimal
konkrit juga dibina di kawasan berhampiran
intervention’ iaitu pengisian pigmen
dengan makmal konservasi Balai Seni Negara
hanya pada kawasan cat yang
Nota: Pusat Repositori dan Konservasi Seni Negara bakal dibuka pada penghujung tahun 2018.
49
ART GALLERIES DIRECTORY
Art Cube
Artemis
Muzium Seni Sarawak
Fumanart
Penang State Museum & Art Gallery
TAKSU Kuala Lumpur
Sabah Art Gallery
NEW OPPORTUNITIES FOR MALAYSIAN ARTISTS This year, Fumanart has invited Malaysian artists Jalaini Abu Hassan and Ahmad Zakii Anwar to create one lithographic print each at Idem, a fine art printing studio in Paris. The prints were exhibited recently in Kuala Lumpur. We also produced a large-size, limited edition tapestry, a collaborative artwork created by Japanese artist Tanaami Keiichi and French artist Stéphane Blanquet. This piece is now exhibited at the Abbaye d’Auberive art museum in France. Fumanart and Stéphane Blanquet have been appointed “artistic directors” of the Halle Saint Pierre museum in Paris for the year 2020/2021. 2 to 4 group exhibitions will be organized and a weekly newspaper focused on drawings will be published. We plan to invite Malaysian artists, among others, to participate in these projects; Azizan Paiman is already working on it. This project will be an opportunity to further strengthen our ties with the contemporary Malaysian art scene. www.fumanart.com and instagram: @hylergon // @stephaneblanquet_official Hom Art Trans
On Paris print project : https://vimeo.com/266529150
artgallery.gov.my Balai Seni Negara @ official
malaysianartworks.com.my nationalartgaller ymy
#60yearsNationalartgallery #balaiseninegara #nationalartgallery NOTE: The ART GUIDE published by the Governance Unit of the National Art Gallery provides full listing of galleries in Malaysia
Photo credit sabahbah.com
Segaris Art Center
Photo credit http://www.penang.ws/
Wei Ling Contemporary
Selaut Kasih, Sepantai Sayang buat Tun Dr Mahathir bin Mohamad Yang Sudi Jejak Hadir Pada
4
September
2018
Sempena Meraikan
Tara Sosrowardoyo - Mahathir Mohamad Mergui Archipelago, B&W gelatin print, 50 cm x60 cm, 1997, Koleksi Balai Seni Negara
Ulangtahun Ke 60 Balai Seni Negara dan U;langtahun Ke 10 Senikini.