Page 1

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

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lakaran, sebaliknya saya lebih mengutamakan

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cemerlang dalam Sijil Pelajaran Malaysia.

awal pada lukisan, saya akan menggunakan

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gaya sapuan berus lakaran besar untuk

bidang kejuruteraan, beliau telah

mendapatkan imej kabur pada warna yang

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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

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. Keputusan ini ternyata telah menyusuri

kegemaran saya adalah potret manusia

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dan fesyen moden. Mempunyai lebih 70,000 pengikut

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tumpuan kepada peminat seni tempatan

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semata-mata. Keupayaan mengetengahkan karya

menjual hasil karya seninya. Pada awal

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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. WĂŐŽĚĂƐZŽďŽƚ

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^ĞƉƚĞŵďĞƌϮϬϭϲϭͬϭ

.ODQWSDUWQHU

WĂŐŽĚĂƐZŽďŽƚ

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 .ODQWSDUWQHU

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.

Profile for senikini

senikini#26  

senikini#26  

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