Malaysian art now

#09

>ISMAIL HASHIM: PAMERAN RETROSPEKTIF

>ROBERT RAUSCHENBERG: Yang Teragung

>

>MALAYSIA’S FIRST ART AUCTION RECORDED SALES IN EXCESS OF RM1.7M

>SEBUKIT BINTANG: Stars On The Hill

AEM 2010 REVIEW

C O N T E N T S FEATURES04 Ismail Hashim: Pameran Retrospektif06 Robert Rauschenberg: Yang Teragung

IN CONSERVATION08 Art Conservation: So Much To Learn

EXHIBITION HIGHLIGHTS10 Lim Ka Seng: Melancholy Musings

ARTIST IN RESIDENCE11 AEM 2010 Review

FEATURES12 Persidangan Seni Hao : Cabaran dan Pasaran Seni Kontemporari Asia Tenggara

ARTIST IN RESIDENCE13 Soh Boon Kiong : Pelukis Residen Baru di Universiti Malaya

CREATIVE INDUSTRY14 Malaysia’s First Art Auction : Recorded Sales In Excess of RM1.7M INTERVIEW15 The Henry Butcher Art Auction

ART REVIEW16 The Translation of 2010 The 1st Next Super Star

ARTIST IN RESIDENCE17 Monolog Bakir Baharom17 Majlis Pertubuhan Kebudayaan Cina Malaysia (MCCS) menyambut Ulangtahun ke-33 serta penyampaian Anugerah Kebudayaan ke-6

CURAT.O.R18 Sebukit Bintang: Stars On The Hill

20 BSLN Sana Sini

21 BSLN 2010 Calendar

22 BSLN Publication 23 What’s On

Editorinc.

can be accessed at www.artgallery.gov.my/senikini

Any feedback and comment please email to us at:anis@artgallery.gov.my

The publisher, National Art Gallery Malaysia,holds the copyright of all editorial content.

SENIKINI (ISSN : 1985-7233) is published six timesa year by National Art Gallery Malaysia.

All Rights Reserved.Copyright©2010 SENIKINI Malaysian Art NowPrinted in Malaysia.

PUBLISHER Balai Seni Lukis NegaraNational Art Gallery MalaysiaMinistry of Information, Communication and Culture MalaysiaNo 2. Jalan TemerlohOff Jalan Tun Razak53200 Kuala LumpurMALAYSIA

P : 603 4026 7000F : 603 4025 4987

w w w . a r t g a l l e r y . g o v . m y

l EDITOR-IN-CHIEF Ambassador Dato’ Mohd Yusof Ahmad l EDITOR Zanita Anuar l DEPUTY EDITORS Alizam Hasan & Anis Amizan Hussein Lim l ASSISTANT EDITOR | CONTRIBUTORS/WRITERS Safrizal Shahir, Faizal Sidik, Dr. Nicole Tse, Ooi Kok Chuen, CN Liew, Ben Jaafar, Lim Ai Woei, Tan Hui Koon dan Jessica Ho | DESIGNERS Nuzaihan Mustapa & Norhaslina Ahmad Kamsin l PHOTOGRAPHY Mohd Fitri Abd Rahman & Mohd Ariesman l

COVER :

Bagi SABRI IDRUS, tujuan pembuatan objek instalasi interaktif ini adalah untuk mengajak masyarakat dan dikembangkan dengan keyakinan bahawa peranan mereka sebagai warga menjadi sangat berkesan ketika mereka boleh menuntut ruangan awam dan membuat tindakan yang menentukan ruangan awam. Dengan memberikan estetika dalam bentuk nyata dan material pembuatan, karya seni harus diuji dengan menempatkannya secara fizikal (taman bermain) di mana kegiatan masyarakat berlangsung, dan mencadangkan strategi improvisasi hidup secara positif.

Greetings and warm regards!

It is my pleasure to present you our last issue for this year, SENIKINI#9!Though the last few months have been very hectic, it had also been most satisfying. With all the programs, exhibitions and art-related activities that we have organized and participated in and out of the gallery, 2010 is definitely a year to remember.

2010 has also been a bumper year for art sales with artworks making unprecedented record transactions at the Henry Butcher auctions amounting to RM 1.7 million. Further more, a whopping RM 11.3 million in sales was recorded at the four day 4th Art Expo Malaysia (AEM) 2010 in October. This is very much in line with the government’s call to make Malaysian contemporary art a tourism attraction with the hope of increasing the sales of local artworks. We are also finalizing our art-related activities and exhibitions scheduled for 2011-2013. The public can expect to see more highlights from our national collection which, after 53 years, deserves to be revealed in its full glory as our proud modern visual heritage. The collections are artistic and cultural testaments to our growth and development as a modern nation. The national collection, together with our latest acquisitions, is also statements of what we hope to achieve as a nation in the next 50 years. We will continue to feature special exhibitions from abroad and cater to suitable requests to showcase works, events and activities.

We have lined up numerous workshops, art-talks featuring artists and special guests as well as other art-related activities to better serve students, visitors and art-lovers in general. The public can expect to see more publications, new merchandise, products and services too. This is our new year’s resolution and commitment to you, our stakeholders and clients. In this issue, we have contributions from USM’s School of Art academician Safrizal Shahir on veteran photographer Ismail Hashim’s long awaited retrospective in Penang which I had the opportunity to view. Also, Dr. Nicole Tse from the University of Melbourne’s Centre for Cultural Material Conservation who was here recently to conduct a workshop at NAG shares with us some important information on art conservation in Asia. Our regular contributor Ooi Kok Chuen keeps us abreast on the activities in the local art industry with his review on AEM’s outstanding commercial success this year. In addition, he also highlights lesser known but veteran painter, Lim Ka Sing on his latest solo exhibition entitled ‘Mother Nature’.

Our curators, Faizal Sidik continues with features on selected artworks and artists from the national collection, this time, by the late prominent American Pop artist Robert Rauschenberg, whose paintings in our collection are among our most prized-possession. Faizal, (with Tan Hui Koon) also recently attended the 2nd HAO Summit in Singapore and writes about the experience.

Lim Ai Woei, who attended the 33rd anniversary celebration and award ceremony of the Malaysian Chinese Culture Association, provides us with a brief background of the association and the night’s event. Finally, Tan Hui Koon sheds some light on the artist who painted the huge mural at the infamous Pudu Jail which is now being demolished to make way for urban development projects. As always, I look forward to your continuous support, constructive criticisms and helpful suggestions to the positive improvement of our National Art Gallery. Thank you.

Merry Christmas and a Happy New Year!

Ambassador Dato’ Mohd Yusof AhmadEditor-In-Chief

THE PARK OBJECT 2010, Aluminium, Stainless Steel, Resin, Slate, Plastic Pigment and Bearing, 90 cm diameter.

The mask occupies a very

unique place throughout

Mexican culture. It is not limited

solely to festivities and religious

celebrations. As I worked in my

photographic project on the

wrestlers in Mexico, this

became increasingly evident.

They are like the point of the

arrow that leads us to

understand the diversity of

myths surrounding the mask.

In fact, it is the wrestlers in

Mexico that have brought the

symbol of the mask into

modernity within our culture.

From a practical point of view,

there is no distance anymore

between its daily use and its

most profound references.

Topeng merupakan objek

budaya Mexico yang amat

unik dan tidak terhad

kepada penggunaan

keagamaan dan adat

istiadat sahaja. Kenyataan

ini semakin ketara

semakin hari saya

menyusuri projek fotografi

bersama ahli gusti Mexico.

Mereka seakan anak

panah atau petunjuk bagi

kita memahami

kepelbagaian mitos

disebalik topeng tersebut.

Ternyata sekali bagaimana

ahli gusti Mexico inilah

yang bertanggungjawab

bagi kesinambungan

budaya dan simbolisme

topeng dalam era moden

ini. Dari sudut praktikal,

sememangnya tiada

jurang lagi di antara

kegunaan harian dan

keistimewaan perwakilan

budayanya.

LOURDES GROBET

Galeri Gallery Reka30 Nov. -30 Dis. 2010

www.artgal lery.gov.my

Masuk PercumaFree Admission

upakan objek

xico yang amat

ak terhad

ggunaan

dan adat

aja. Kenyataan

ketara

ri saya

projek fotografi

li gusti Mexico.

kan anak

petunjuk bagi

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Ismail Hashim adalah seniman visual serba boleh yang dilahirkan

di Pulau Pinang pada tahun 1940. Beliau mendapat pendidikan seni secara formal di Universiti Sains Malaysia (USM) pada tahun 1972, dan merupakan kumpulan pelajar pertama yang memperolehi Ijazah Sarjana Muda Sastera (Seni Halus) dari USM. Beliau kemudiannya melanjutkan pelajaran ke Washington State University, Amerika pada tahun 1977 dan dianugerahkan Ijazah Sarjana Seni Halus pada tahun 1979. Apabila kembali ke Malaysia, beliau telah berkhidmat sebagai pensyarah rekabentuk grafik dan fotografi di USM, bermula dari tahun 1979 sehingga 1995.

Pameran seni retrospektif Ismail Hashim ini mengetengahkan lebih dari 50 buah karya seni terbaik yang pernah dicipta oleh beliau dalam pelbagai genre visual semenjak lebih 35 tahun lepas. Keunikan Ismail Hashim sebagai seorang seniman visual terletak kepada versetailitinya menghasilkan karya seni dari genre catan, lukisan, seni cetak dan juga fotografi. Beliau juga turut menghasilkan karya-karya rekaan grafik seperti tipografi, ilustrasi dan logo.

Beberapa karya fotografi dan logo beliau telah memenangi hadiah dalam pelbagai peringkat samada di dalam atau di luar negeri. Salah satu rekaan logo beliau yang paling diingati adalah logo asal ‘Belilah Barang Buatan Malaysia’, yang memenangi hadiah utama Kempen Belilah Barang Buatan Malaysia pada tahun 1985. Logo tersebut telah digunakan secara meluas dalam kempen dan produk-produk tempatan pada tahun 1980-an dan 1990-an.

Kekuatan utama Ismail Hashim adalah dalam bidang fotografi. Karya-karya fotografi beliau boleh dikategorikan sebagai fotografi seni. Karya-karya fotografi beliau terletak kepada kepekaan dan penelitian mendalam beliau terhadap idea dari subjek yang ingin beliau ketengahkan. Selain itu karya beliau juga terletak kepada nilai komentar sosial yang ingin diketengahkan. Idea dan subjek karyanya diangkat dari alam di sekeliling, kegiatan sehari-hari atau pemandangan sosial di persekitaran. Idea dan subjek-subjek yang biasa tersebut telah diterjemahkan oleh Ismail Hashim dalam karya fotografi beliau yang adakalanya bersifat lucu, kritis atau romantis.

Komentar sosial yang wujud dalam karya fotografi Ismail Hashim telah dipersembahkan dalam nada artistik. Nilai artistik ini telah menjadikan setiap karya fotografi beliau begitu unik dan tersendiri dari segi teknik dan persembahannya. Beliau telah menggunaan teknik pelukisan tangan secara sepuh (glazing) yang halus dan terperinci di atas karya cetakan fotografi hitam putih. Teknik dengan kemahiran tersendiri ini telah membuatkan karya beliau memberi kesan visual dan kontras yang unik dan berbeza.

Kekuatan karya fotografi beliau telah menempatkan beliau sebagai seorang peneraju utama bidang fotografi seni di Malaysia semenjak dari pertengahan tahun 1970-an sehingga kini. Sifat konsistensi dan minat yang begitu mendalam terhadap praktis seninya itu telah meletakkan beliau sebagai antara seniman paling utama dalam konteks seni moden Malaysia.

Ismail Hashim adalah seorang seniman yang sebenarnya telah lebih dari 40 tahun bergelumang dengan praktis seni visual. Penumpuan beliau terhadap pelbagai bidang seni visual ini menggambar tahap perkaitan beliau yang serius dalam bidang seni.

Pameran Retrospektif ini diadakan bagi menghimpunkan semula karya-karya terbaik

beliau dalam bidang yang disebutkan di atas. Pameran ini juga diadakan untuk meninjau semula pencapaian, nilai dan tahap yang telah dikecapi oleh Ismail Hashim lewat karya-karyanya. Dalam konteks yang lain, pameran retrospektif adalah merupakan suatu penyataan penghargaan kepada seniman yang telah menunjukkan sikap dan sifat kesenian yang terpuji dan berdaya maju. Melalui pameran ini kita didedahkan dengan paparan karya-karya Ismail Hashim yang disifatkan sebagai berkualiti tinggi, unik dan tersendiri.

Dari segi idea dan paparannya, karya-karya Ismail Hashim ingin berdialog dengan pemerhati. Melalui penyataan ini kita dapat melihat bagaimana Ismail Hashim telah menggunakan pendekatan representatif aktual untuk mencurahkan idea beliau. Beliau begitu selesa berkarya dalam atau melalui pendekatan representatif. Akibat dari faktor tersebut, secara langsung atau tidak, beliau telah menggunakan juga kaedah komentar sosial dalam memerikan subjek yang terlihat dipandangannya. Sifat aktualiti dan kebenaran benda, bahan dan subjek telah menjadi ramuan utama beliau untuk memerihalkan subjek yang wujud dalam karyanya.

Karya beliau secara terselindung mempunyai beberapa lapisan makna atau konteks. Karya-karya seni Ismail Hashim mempunyai nilai dan kualiti melampaui penyataan visual yang biasa. Ia berupaya membawa pemerhati kepada pemikiran dan rasa yang lebih mendalam atau berbeza. Konteks dalam karya-karya Ismail Hashim adakalanya mengandung sifat dualiti yang begitu mengujakan, iaitu ideanya begitu serius, namun cara bentukannya telah memberi dimensi humor yang amat tajam. Keadaan inilah yang memberi sifat unik, berbeza dan tersendiri bagi karya-karya Ismail Hashim. Cara gaya (trademark) beliau ini begitu dikenali dan dihargai akibat sifat dan elemen keunikan dan perbezaan yang telah disebutkan.

ISMAIL HASHIM : PAMERAN RETROSPEKTIFl Safrizal Shahir

Coke Series II NA Fotografi 58.5 x 150.1 cm BSLN2003.046

Enviroment Graphics 1984 Fotografi 67 x 55.5cm BSLN1984.006

Logo ‘Belilah Barangan Buatan Malaysia’ hasil karya oleh Ismail Hashim pada tahun 1985

Dapur Minyak, Dapur Gas, Jerang Air, Goreng Cucur 1990 Fotografi 47 x 47cm BSLN1998.019

Making Faces 1997 Cat air atas kertas 51 x 62cm BSLN1998.029

One Million Deaths 1982 Poster Design for IOCU

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Melalui pameran ini juga kita dapat melihat kualiti kemahiran dan penumpuan yang amat mendalam dan tajam oleh Ismail Hashim dalam setiap karyanya. Penumpuan beliau terhadap sifat perincian karya secara serius telah membuatkan karya-karya itu benar-benar kental dari aspek kualiti, bentuk dan tekniknya. Di atas merit tersebut maka Ismail Hashim layak diiktiraf sebagai seniman fotografi penting dan utama dalam perkembangan seni moden Malaysia.

BIOGRAFI1948 Born in 111 Lebuh Maksuri, Sg. Nibong Kechil, 11900 Penang

EDUCATION1960 Language Institute, Kuala Lumpur1963 University of Manchester, United Kingdom1967 Specialist Teacher’s Training Institute, Kuala Lumpur1972-75 Universiti Sains Malaysia, Penang, (B.A (Hons))1977-79 Washington State University, USA, (M.F.A)

AWARDS1974 Minor Prize-National Printmaking Competition1975 Major Prize-National Photography Competition1975 Minor Prize-ACCU Photography Exhibition, Japan1976 Minor Prize-ACCU Photography Exhibition, Japan

1978 Merit Award-Miliken Carpet Design, USA1979 Minor Prize-International Photo Show, New York1985 Major Prize-Buy Malaysian Logo Competition1986 Minor Prize-Malaysian Sports Council Logo Competition1990 Major Prize-National Happy Family Photograph Competition

SOLO EXHIBITIONS2008 yang ‘tu yang ‘ni, Galeri Seni Mutiara, Penang2005 Going Bananas and Rezeki Batang Pisang, 2 person show, Adiwarna Gallery1993 Solo Exhibition, Novotel Hotel, Penang

SELECTED GROUP EXHIBITIONS2009 Remembering Kampung Buah Pala, Galeri Seni Mutiara Penang2009 Pameran Tahunan 45, Kumpulan Seni Lukis Guru-Guru Pulau Pinang2007 Merdeka at 50, Galeri Seni Mutiara, Penang2007 The Prelude (art auction Malaysia)2006 Oasis, Academic Staff of school of Fine Arts Art Show, Universiti Sains Malaysia2005 tm:mo (terbuka Malaysia : Malaysia open), Balai Seni Lukis Negara, Kuala Lumpur2004 Asian Invitational Show, National Art Gallery, Kuala Lumpur2003 Water: The First Element Art Show, National Art Gallery, Kuala Lumpur2003 Cobi Mela II – Festival of Photography, Bangladesh2002 Over Time, photography show, Badan Warisan Malaysia, Kuala Lumpur2001 Transisi : The Dynamic Passage of the Penang Teachers Art Circle, Petronas Gallery, Kuala Lumpur City Centre (KLCC)1998 Pameran Senilukis Antarabangsa Asia ke-13, Balai Seni Lukis Negara1998 Our Heritage to Cherish, Badan Warisan Malaysia, Kuala Lumpur1997 Isu (Issues), photography show, Creative Centre, National Art Gallery1996 The Good Years, photography show, Regent Hotel, Kuala Lumpur1993 Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Australia1994 Melihat Semula Seni Lukis Moden Malaysia1992 Asian Art Biennial, Bangladesh1991 South of the World – The Other Contemporary Art, Milan, Italy1986 Side by Side-works by Malaysian British artist, National Art Gallery, Kuala Lumpur1984 Asean Mobile Exhibition, touring 5 Asean countries1981 Asean Mobile Exhibition, touring 5 Asean countries1980 Pameran 10 tahun Universiti Sains Malaysia1979 Photography Show, New York, USA

JUDGES2009 Pertandingan Bakat Muda Pulau Pinang, Pesta Pulau Pinang1999 Pertandingan Seni Fotografi, Balai Seni Lukis Negara1997 Anugerah Senilukis Malaysia – Asean Art Awards, Kumpulan Syarikat Philip Morris1990 Wajah-wajah Malaysia, Pameran Seni Foto sempena Tahun Melawat Malaysia1988 Pertandingan Bakat Muda Sezaman, Balai Seni Lukis Negara, Malaysia.

PUBLIC COLLECTION

Balai Seni Lukis Negara (National Art Gallery), Malaysia.

Muzium dan Galeri Tuanku Fauziah, USMUniversiti Sains Malaysia

PETRONAS

BALAI SENI LUKIS NEGARA & The Retrospective Exhibition of Ismail Hashim

The last time Ismail Hashim, artist, photographer and a former member of our Board of Trustee had exhibited with us was in 2005, in the National Open Show entitled TM : MO or Terbuka Malaysia: Malaysia Open exhibition held in our new site on Jalan Temerloh off Jalan Tun Razak.

His first exhibition at the Balai Seni Lukis Negara was in the 1968 Salon Malaysia. Back in the early 80s, as our gallery staff, photographer Azidi Amin recalls, “He would take the train from Penang and arrive at our doorstep. He was active in the ASEAN mobile exhibition or travelling exhibition and became a regular guest to our gallery, photo studio and shared our darkroom often”. It maybe that a few of the prints dated c1990s shown in the retrospective may have been printed in Balai Seni Lukis Negara darkroom in the former Hotel Majestic building on Jalan Sultan Hishamuddin. One of it is The Splendour and Squalor (Kebanggaan & Keselekehan), 1997. The charming hand tinted gelatin-silver print entitled Kongsi Raya Dec 1999, Heritage Hotel, Kuala Lumpur is a photograph he had taken on one of his journeys, made by invitation of Balai Seni Lukis Negara. At that time he was invited to translate Redza Piyadasa’s text for the infamous book Rupa Malaysia. According to Azidi, Ismail Hashim and Eric Peris, as curators of Pameran Fotografi Sebagai Seni in 1996, made art history at the Balai Seni Lukis Negara when for the first time a National Photography Exhibition held at Balai Seni Lukis Negara did not offer prizes. Moreover, he worked alongside Azidi and Abd Hamid Othman throughout the nights and placed stringent color-proofing rule to the 118 artworks in the catalogue resulting to the first high picture quality photography catalogue ever published by us.

A total of eight out of nine works of Ismail Hashim from the Balai Seni Lukis Negara Permanent Collection was displayed at the Retrospective exhibition. Our Director General Ambassador Dato Mohd Yusoff Ahmad visited the exhibition with Collections Curator, Amerrudin Ahmad and managed to meet the artist and also to be introduced to his brother Rahman, whose ink and wash portrait, Adikku Rahman, 1972, is part of our Permanent Collection.

With the kind permission from the Balai Seni Lukis Pulau Pinang, Balai Seni Lukis Negara is able to begin the pilot documentation program, known as DOKU 7 (72 hours) on the retrospective exhibition of Ismail Hashim. The Doku 7 is a unique version of the typical “making of videos” in it’s objective:

• To document the creative process/hype/angst of the artist and art curator 72 hours before the opening of an iconic art exhibiton/project.

• To observe and record various professional, sociological and psychological negotiations and conflict resolution strategies in the making of an iconic art exhibition/project.

• To prepare documents as lessons/case studies for further improvement of curatorial skills in managing iconic art exhibitions/project.

Our video crew consisted of Yuzaini, Khazrul and Fitri who had spent 72 hours with the artist and curator, and was blessed with a reward by the artist himself after the exhibition. Ismail Hashim invited them to accompany him the next day to document the morning.

Hebat Juga Permandangan Jambatan Pulau – Pinang!...Dengan Jerebu Lagi!! 1997Hand-tinted B & W gelatin silver hand-prints61 x 92 cm BSLN2009.004

Bila Perang Semua Orang Menderita 1991 Fotografi 84 x 65 cmBSLN1998-017

Pandangan Basikal, Basikal Buruh 1979 Hand-tinted photographs107 x 79 cm BSLN1998.02

Adikku Rahman 1972 Dakwat 47 x 52 cm BSLN1998.018

Ismail Hashim menerangkan hasil karyanya.

Rahman Hashim bersama potret karya oleh Ismail Hashim.

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Harimau mati meninggalkan belang, manusia mati

meninggalkan nama. Sungguhpun begitu bagi Robert Rauschenberg (1925-2008) kelahiran Texas, yang telah meninggal 2 tahun lalu beliau bukan sahaja meninggalkan nama dipersada dunia malah karyanya juga dalam Koleksi Balai Seni Lukis Negara. Karya beliau yang bertajuk “Yang Teragung” atau Malaysian King (Gambar 1) ini yang dihasilkan pada 1990 menggunakan akrilik dan cetakan sutera saring di atas permukaan kanvas merupakan sebuah karya besar, pelukis yang paling bertenaga dalam seni lukis moden barat dikatakan hero dalam seni lukis Amerika yang berstatus bintang selebriti.

Rauschenberg di awal kariernya merupakan pelukis yang memperkenalkan teknik Combine Painting iaitu teknik cantuman antara catan dengan objek jumpaan di mana beliau telah membuka laluan baru bagi ekspresi artistik. Dalam karya kolaj berunsurkan Seni Pop atau Seni Popular pula selepas itu beliau menggunakan kemahiran teknik ini dalam menghantar mesej isu politik dan sosial. Beliau pernah berkata “Peranan artis adalah menjadi saksi terhadap sejarah masa”. Sepanjang hidup beliau banyak menghasilkan karya-karya komentar terhadap peperangan, persamaan hak, perlucutan senjata nuklear, Dasar Apartied, pembangunan ekonomi, hak artis dan isu alam sekitar yang menurutnya tema-tema yang para artis patut ditekankan pada hari ini.

Oleh itu pada tahun 1983 beliau telah mengumumkan secara rasmi di Pertubuhan Bangsa-Bangsa Bersatu PBB satu projek yang dibiayainya sendiri dalam misi mempromosikan

keamanan sejagat menerusi pertukaran budaya dimana beliau melawat dan bekerja di negara lawatannya itu dengan menggunakan material dan kemahiran pada setiap negara tersebut untuk menghasilkan karya.

Program ‘Pertukaran Antara Budaya Rauschenberg’ yang dikenali sebagai ROCI (Rauschenberg Overseas Cultural Interchange) merupakan pameran yang dihasilkan oleh Rauschenberg bagi menyelami budaya setiap negara hos di samping menganjur dan mempromosikan keamanan dunia dan kesedaran budaya yang dipromosikan olehnya.

Projek pameran bergerak ini bermula pada tahun 1985 dan mengambil masa selama enam tahun membawa beliau ke beberapa buah negara di benua Asia, Eropah Timur dan Amerika Selatan antaranya Mexico, Chile, Venezuela, China, Jepun, Cuba, bekas Soviet Union, bekas Jerman Timur (Berlin Timur) dan juga termasuklah Malaysia.

Johan Jaafar pernah mengambarkan dalam penulisan ruangannya dalam sebuah akhbar mingguan bahawa semasa penghantaran kargo karya beliau yang ditaja oleh Sistem Penerbangan Malaysia (MAS) dengan lori kontena daripada Lapangan Terbang Antarabangsa Subang masa itu untuk dipamerkan di Balai Seni Lukis Negara lama (Hotel Majestic) di Jalan Sultan Hishamuddin iaitu berhampiran dengan Stesen Keretapi Kuala Lumpur KTM, berlaku kesesakan yang amat luar biasa kerana kawalan ketat yang diberikan oleh pasukan polis bukan sahaja dari aspek kawalan lalulintas jalan raya malah helikopter di udara juga terpaksa digunakan sebagai langkah keselamatan, begitulah fenomena impak kehadiran karya-karya Rauschenberg di Kuala Lumpur.

Dalam penjelajahan di Malaysia, Rauschenberg mengambil gambar dan dibantu oleh pembantunya untuk mengambil gambar video merakamkan pengalaman apa yang ditemui beliau pada setiap lokasi pameran. Sebagai pameran bergerak yang memakan masa selama 6 tahun, disamping Rauschenberg menghasilkan karya pada setiap negara hos dalam pamerannya itu, beliau juga menghadiahkan karya kepada setiap negara yang dilawati dan menerbitkan katalog pameran (Gambar 2) yang melibatkan sumbangan penyajak, penulis dan jurnalis tempatan.

Karya ‘Yang Teragung’ merupakan salah satu karya yang telah dihadiahkan oleh yayasan beliau iaitu Robert Rauschenberg Foundation untuk dijadikan koleksi Balai Seni Lukis Negara daripada pameran Rauschenebrg Overseas Culture Interchange atau ROCI yang diadakan di National Gallery of Art, Washington D.C. pada 12 May hingga 2 September 1991 dimana ia mempamerkan 60 buah catan, 21 arca, 60 fotografi, 30 grafik dan 15 video pinjaman sebahagian daripada penjelajahan antarabangsanya itu. Sungguhpun begitu terdapat 4 lagi buah karya selain karya ‘Yang Teragung’ yang beliau hasilkan sepanjang lawatannya ke sini semasa program ROCI Malaysia pada tahun 1990 antara nya yang bertajuk ‘Bunga Manggis’ (Mangosteen Flower) (Gambar 4), Tuak Hudok-Iban (Rice Wine Dog) (Gambar 5), Home Run(Gambar 6) dan Malaysian Flower Cave (Gambar 7) merupakan koleksi National Gallery of Art, Washington D.C. yang boleh saya katakan ‘kembar’ kepada karya ‘Yang Teragung’ atau Malaysian King. Ketiga-tiga karya awal tadi tidak diketahui samaada masih berada di dalam yayasan beliau atau ditangan

kolektor persendirian.

Dalam karya yang ‘Yang Teragung’ Rauschenberg memperlihatkan sifat kepelbagaian yang ada di Malaysia dari segi politik, ekonomi dan sosio budaya dari segi bahasa serta kepercayaan. Rauschenberg menggunakan elemen popular politik seperti bendera Malaysia dan negeri-negeri yang terdapat didalamnya untuk memperlihatkan bahawa Malaysia merupakan negara yang berdaulat yang diperintah oleh Yang di Pertuan Agong dan kumpulan sistem kerajaan sembilan negeri-negeri beraja disamping Menteri Besar dan Ketua Menteri masing masing.Perletakan bendera negeri-negeri di Malaysia boleh juga dilihat sebagai perjalanan dan pengembaraan beliau ke negeri-negeri tersebut dan gambaran-gambaran popular yang beliau

perolehi semasa berada di lokasi itu contohnya pengangkutan awam popular di Pulau Pinang pada waktu tersebut iaitu beca, perkampungan nelayan berlatarbelakangkan pokok kelapa di Kelantan, imej aktiviti pemunggahan barang di pelabuhan, mungkin Pelabuhan Kelang, Selangor dan pelantar minyak di Sarawak,

Gambar 1, Robert Rauschenberg Yang Teragung/Malaysian King ROCI / MALAYSIA 1990 Akrilik dan fabrik atas besi galvani 244 cm x 488 cmBSLN1990.027

ROBERT RAUSCHENBERG : Yang Teragung l Faizal Sidik

Gambar 2, Katalog pameran ROCI / MALAYSIA di Balai Seni Lukis Negara pada 21 Mei -24 Jun 1990

Gambar 3, Rauschenberg dalam lawatan ke Tokong Ular, Pulau Pinang

Gambar 4, Bunga Manggis (Mangosteen Flower)ROCI/MALAYSIA 1990

Gambar 5, Tuak Hudok – Iban (Rice Wine Dog)ROCI / MALAYSIA 1990

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Pameran 45@45 adalah sebuah pameran sempena ulangtahun ke 45 tahun penubuhan Balai Seni Lukis Negara yang mempamerkan 45 karya yang signifikan dalam koleksinya termasuklah karya ‘Yang Teragung’ yang dipilih oleh 45 orang yang mempunyai pelbagai latar belakang, dikuratorkan oleh Zanita Anuar pada 2003 di Balai Seni Lukis Negara, Ng Sek San arkitek seni bina landskap mengatakan “pengkaryaan beliau begitu intim sekali menggunakan bahantara harian dan objek jumpaan. Karya beliau memperlihatkan beliau sebagai pecinta kedamaian yang melangkau sempadan dan lebih relevan sebagai artis pada hari ini yang hidup dalam order baru dunia yang penuh kacau bilau”. Buah-buah ikon di Malaysia seperti durian, rambutan dan mangga juga menjadi subjek yang menarik bagi Rauschenberg dalam karyanya ini. Durian sebagai raja segala buah dianggap sebagai trademark buah-buahan dalam menggambarkan negara ini.Tanah perkuburan Islam dan imej senibina kuil jelas menunjukkan bahawa walaupun agama rasmi di sini adalah Islam namun agama-agama lain bebas untuk mengamalkan kepercayaan mereka.

Dalam karya ‘Yang Teragung’ dan Malaysian Flower Cave, Rauschenberg telah memperkenalkan satu lagi lapangan baru dalam seni pop iaitu apa yang dikatakan Pop Art Fabric atau Seni Pop Fabrik bahawa bahan-bahan yang digunakan dalam karya ini iaitu akrilik dan fabrik atas besi galvani dilihat daripada gabungan gerakan ekspressionis abstrak dan seni pop yang mungkin dipengaruhi oleh karya Flag (1954-1955) daripada rakannya, Jasper John. Terdapat banyak persamaan atau perkongsian imej yang boleh dibuat perbandingan antara kedua-dua karya ini.

Perkongsian imajan semasa kembara beliau di negara ini dalam kedua-dua catan boleh dilihat dalam imej Beca Pulau Pinang dan Perkampungan Nelayan (Gambar 1a). Karya ‘Yang Teragung’ imej beca hitam putih ia boleh dilihat di bahagian kiri sebelah atas dan perkampungan nelayan juga secara hitam putih yang mempunyai sapuan berus yang kasar berwarna merah bersebelahan bendera Kelantan yang juga berwarna merah. Pengulangan imajan ini boleh juga diperhatikan dalam Malaysian Flower Cave di bahagian atas sebelah kanan dengan bidangan warna akrilik berwarna jingga (Gambar 7a).

Di beberapa bahagian yang lain seperti imej pelantar minyak dan kuil di dalam karya ‘Yang Teragung’ boleh diperhatikan di bahagian kiri di mana ia dilihat seperti pencawang elektrik. Pelantar berwarna merah terdapat imej pokok getah yang berwarna putih dan diatasnya bendera negeri Sarawak (Gambar 1c) iaitu sebuah negeri di Malaysia Timur yang kaya dengan sumber asli terutamanya minyak. Kuil yang berwarna merah terdapat di bahagian kanan dalam karya ‘Yang Teragung’ (Gambar 1d). Manakala karya Malaysian Flower Cave, kedudukan perletakan imej ini sebelah menyebelah dan bukan itu sahaja malah perletakan imej itik seperti motif ‘itik pulang petang’ dalam ukiran Melayu tradisional yang berwarna putih dan pokok getah kuning kejinggaan juga boleh dilihat dalam petakan rician ini (Gambar 7b).

Satu lagi jumpaan yang menarik untuk dikongsi antara kedua-dua karya ini yang mempunyai kaitan dengan karya terkenal iaitu ‘Canyon’ 1959 (Gambar 8) iaitu sebuah karya catan kombinasi yang sangat dikenali ramai dalam sejarah seni yang membabitkan nama beliau. Karya media campuran ini, Rauschenberg melakukan inovasi baru dalam teknik kolaj yang bermain dengan ilusi optik objek 2 dimensi dan 3 dimensi. Selain membahagi karya ini dengan petakan, grid secara vertikal dan horizontal dengan objek-objek jumpaan. Apa yang menarik dalam karya ini adalah gantungan bantal yang terjurai di bahagian bawah sebelah burung helang mempunyai kesinambungan yang begitu mempengaruhi karya dari segi penggunaan imej juntaian tali yang boleh disaksikan dalam karya ‘Yang Teragung’ (Gambar 1e) dan karya Malaysian Flower Cave (Gambar 7c). Karya ‘Yang Teragung’ penggunaan gantungan tali kren dapat disaksikan dalam proses pemunggahan barang dagangan di pelabuhan. Karya Malaysian Flower Cave dapat dilihat seperti longgokan buah kelapa muda yang diikat pada jaring.

Kita mungkin biasa melihat provokasi dalam demostrasi di media massa terutamanya di kaca televisyen bagaimana peserta yang berdemostrasi membakar atau memijak-mijak bendera negara tertentu bagi menimbulkan sentimen yang mungkin boleh menimbulkan kekacauan dan ketidaktentuan. Penggunaan bendera begitu dominan dalam karya “Yang Teragung” penggunaan bendera dilihat merupakan lambang ‘yang terakhir’ digunakan bagi artis dalam menyampaikan mesej. Ia juga boleh dilihat satu simbol ‘yang tertinggi’ atau ikonografi ‘yang teragung’ dalam sesebuah negara.

Balai Seni Lukis Negara mungkin boleh memikirkan bagaimana hubungan diplomatik antara Kuala Lumpur ‘Malaysian King’ boleh kongsi dengan Washington ‘Malaysia Flower Cave’dengan menerusi karya catan ini di masa akan datang, agar kita dapat melihat kedua-dua karya ini dapat diperlihatkan semula dalam satu bumbung bagi mengeratkan lagi hubungan luar antara kedua-dua negara, bukan dalam konteks politik sahaja tetapi seni.

Mark Vallen “Robert Rauschenberg 1925-2008“ dalam http://art-for-a-change.com/blog/2008/05/rober-rauschenberg-1925-2008.

html Koleksi National Art Gallery, Washington DC - http://www.nga.gov/fcgi-bin/tinfo_f?object=72836 Katalog pameran 45@45, Balai Seni Lukis Negara Malaysia, Kuala Lumpur, 2004, ms 114-115.

Gambar 6, Home Run ROCI/MALAYSIA 1990

Gambar 7, Malaysian Flower Cave ROCI/MALAYSIA 1990Akrilik dan fabrik atas besi galvani 306.8 cm x 367.7 cmKoleksi: National Gallery of Art, Washington D.C., (1991.76.8)Hadiah daripada Robert Rauschenberg Foundation

Gambar 7a, Jarak dekat imej beca dan kampung nelayan dalam karya ‘Malaysian Flower Cafe’ Gambar 8, Robert Rauschenberg Canyon 1959

Combine painting: cat minyak, pensil, kertas, fabrik, metal, kotak cardboard, cetakan kertas, cetakan reproduksi, fotografi, kayu, tiub catan, dan cermin atas kanvas, dengan cat minyak atas burung helang awet, tali dan bantal; 86 3/4 x 70 x 24 in Sonnabend Collection, New York

Gambar 7bJarak dekat imej pelantar minyak dan kuil dalam karya Malaysian Flower Cave

Gambar 1cGambar 1dJarak dekat imej pelantar minyak dan kuil dalam karya ‘Yang Teragung’/Malaysian King

Gambar 1a, Jarak dekat imej beca dan kampung nelayan dalam karya ‘Malaysian Flower Cafe’

Gambar 1e Gambar 7cJarak dekat imej gantungan barang dalam ‘Yang Teragung’ Jarak dekat imej gantungan barang dalam ‘Malaysian Flower Cave’

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Twentieth century Southeast Asia saw the uptake of oil and acrylic painting by many artists. Paintings have now become a major area of focus for national galleries and private collectors and so too is their preservation. Their preservation however, is not a straightforward task.

In the first instance, these paintings comprise of materials and techniques derived from art making practices developed in Western Europe, but which were produced and housed in tropical climates. Often the formulations of

imported artists paints include materials suited to temperate climates such ‘anti-freeze’ agents (obviously not important here unless you store your paintings in the freezer!), and yet do not contain adequate proportions of biocides or preservatives which in fact, maybe important in the tropics.

Another concern is the impact of the climate on paints. We know increased temperatures causes hard and quick drying paint films. High relative humidity keeps paint films more flexible but in the long term hardens them too. And mold is another concern. Further the urban centres of most Southeast Asian cities add high sulfur dioxide levels to the equation which causes acidic decay. These are just a few of the climatic concerns impacting on oil and acrylic paints. Although something is generically known, the precise mechanisms and which ones occur in preference to others is not completely understand. This leaves conservators working in Southeast Asia with many questions to address and while significant knowledge exists on the ageing of oil and acrylic paints overseas, the information can not be simply applied to the climatic environments pertinent to Southeast Asia. Many conservators, therefore rely on educated diagnostic skills to understand the deterioration mechanism specific to oil and

acrylic paints in the tropics, share information and have started some important research that aims to develop regionally relevant knowledge that answers question important to the collections they care for.

As such Balai Seni Lukis Negara is part of a research network and research project to develop new knowledge and enhance the practice of art conservation in Southeast Asia. APTCCARN (Asia Pacific Twentieth Century Conservation Art Network) was inaugurated in 2008 at BSLN and includes conservators and museum professionals from Malaysia, Singapore, Thailand, Macau, Australia and New Zealand (see Seni Lukis edition ? Amers article). In

2011 we will present a panel at the ICAS/AAS Symposium in Hawaii to further our work. Another research project investigates ‘The 20th Century in Paint’ that utilises expertise and collections from ten public institutions, four universities across four continents and 20 researchers from Malaysia (Amerrudin Ahmad, Zanita Anuar), Thailand, the Philippines, the UK, USA and Australia (myself as the Post Doctorate Fellow). In 2011 we plan to present an international symposium on unconventional and modern materials at BSLN. Overall a principal goal of APTCCARN and the research program is to fill the gaps in our knowledge and ensure regionally relevant material conservation solutions are developed for Southeast Asian art collections. It aims to inform conservation treatment practice, environmental parameters in gallery environments and best practice for contemporary artists in the preparation of their paint materials.

Conservation practice in the tropics: How can we understand the way a painting ages?

How then can conservators and museum professionals understand the way a painting is deteriorating for it to be around for as long as possible? The answer is not straightforward. There is a whole gamut of reasons why paintings deteriorate starting from the materials the artist chooses; how the artist combines their materials (ie. their technique); how the materials interact alone and with one another according to environmental factors; how the painting has been cared for, for example its previous climatic conditions of exposure; whether the painting has been exposed to changes in climate through intermittent use of air conditioning or relocation; and whether it has been repaired or treated in the past. As paintings are each created individually and their history of care is not identical, they all deteriorate and it is from this perspective that preservation and conservation approaches are devised.

Attempting to answer all the above questions is a daunting task. As previously mentioned there is little known about the

materiality and deterioration of Southeast Asian paintings apart from some recent studies (Tse 2008, Halim 2010, Ahmad 2011, Cruz 2008, Ebert 2008 to name a few). There are occasions when materials analysis can answer questions but not all of them. Consulting art historical documents, museum records and artists diaries can also provide information. But the most important source of information is through discussions with artists. Whom better to tell you what materials they used, in how many layers, what brand of paint they prefer, how the materials interacted and later aged. This is why conservators like to talk to artists so they are better equipped to conserve their works of art should the need arise and better still, what measures the artist prefers conservators to use. For example, some artists may prefer a stained appearance on their work as it tells a story and thus may not want it removed. It is critical for conservators to know this and document it for the future. For the same reason, conservators will enquire about whether the collector turns their air conditioner on and off, whether they open their windows or curtains and whether they have social events where a painting is displayed. Do not worry, conservators are not prying about your personal life, we are just trying to understand the history behind a painting.

Materiality of Paintings and types of deterioration in the tropics

Here I would like to provide just a few examples about the materiality of paintings and the way they deteriorate and present some of the research findings to date.

The source of materials used in paintings is an important way of understanding artistic practice and the deterioration of paintings. In the collection of BSLN, an artists colourmen stamp with the name ‘Joyo’ (Figure 1) was identified on Datuk Mohd. Hoessein Enas 1962 work ‘Dua Beradik (Two Sisters)’(Figure 2). Printed in black along the top edge it reads ‘joyo’ canvas, 5m/ 45 c, MADE IN JAPAN’ and ‘CANVAS….’, demonstrating the origin of the canvas as well as the fact that it was intended for an international market as the text is written in English. Does this suggest that Datuk Mohd. Hoessein Enas preferred using Japanese art materials and was possibly introduced to them during Japanese occupation? This of course requires much further investigation but is one fraction of evidence of which other studies can be based. In terms of deterioration and given the known composition of many imported artists colourmen materials, the canvas support used by Datuk Mohd. Hoessein Enas was likely to have been prepared with a glue size layer before the white ground layer was applied. 1Glue size layers are very reactive in humid conditions and will cause upper paint layers to flake off, which is consistent with the types of cracks observed in this work.

Another example relates to the deterioration of a painting identified on Yong Mun Sen’s 1946 ‘Temple Dieties’, also part of the BSLN collection (Figure 3). Figure 4 of the paintings surface illustrates an intact paint film with no apparent deterioration issues. Analysis, however of what is occurring below the surface tells another story. Figure 5 is a small particle of paint the size of a full stop prepared as a cross section for analysis. An analytical technique called Scanning Electron Microscopy Electronic Dispersive Spectroscopy (SEM-EDS) has identified the elements in the paint layer and the pink layer shows a high proportion of zinc, carbon, oxygen, iron, manganese and calcium (Figure 6). This suggests a zinc stearate (Zn(C18C35O2)2 or metallic soap, produced from the white pigment zinc oxide when it reacts with the oil binding media. Further analysis of the pink layer with a SEM-EDS back scattered image shows outward crystal growth (Figure 7) and Synchrotron Radiation FTIR (Fourier Transformer Infrared) indicates a metal soap with a peak at 1540cm-1 and the suppressed yield of the carbonyl peak at 1740cm-1, also confirming the presence of metallic soaps. When metal soaps are present in a paint

Figure 1: Figure 5: ‘Joyo’ colourman stamp identified on Datuk Mohd. Hoessein Enas, Dua Beradik (Two Sisters,) (1962), oil on canvas, 1123 x 910 mm, Malaysia, National Art Gallery, acc. no. 221965.81. Photo: Nicole Tse.

Figure 8: Artist Colourmen Silpakorn University Paints, Material Research Centre for Art and Design, Silpakorn University, Thailand.

Figure 9: Artist Colourmen Silpakorn University Paints, Material Research Centre for Art and Design, Silpakorn University, Thailand

Art Conservation: so much to learn l Dr. Nicole Tse

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layer, it is very brittle and the paint film forms little pockets of metallic soaps producing a honey comb type structure. So in this instance, it tells us the paint film is very vulnerable and cracks can form very quickly eventhough the upper surface appears perfect.

One last example relates to the brand of oil or acrylic paint an artist uses, and whether it is of artist or industrial paint quality. Artists acrylic paints comprise of quite stable co-polymers of ethyl acrylates or n-butyl methacrylate with methyl methacrylate. Household emulsion paints obtained from a ‘DIY’ stores can contain acrylic polymers, poly vinyl acetate (PVA) and other synthetic polymers (Learner 2004). We know that such the vinyl emulsions paints are not as stable as the acrylics but when coupled with the environmental factors of the tropics, we still need to know more about the unique mechanisms of deterioration taking place. To learn about deterioration mechanisms in more detailed, often studies of known paint samples are undertaken. We are undertaking such a study on the Silpakorn University brand of artist oil and acrylic paints in collaboration with Assoc. Professor Supanee Chayabutra and her team (Figure 9) to investigate their ageing properties in tropical climates (Figure 10). As Dr Supanee developed the range of paints, the composition of the paints is known and thus we are able to track the ageing processes of paints systematically to understand the unique mechanisms and the impact of climate on their behaviour. Further the Silpakorn brand of artists oil and acrylic paints comprise a higher proportion f biocides and preservatives to protect the paint films from biodeterioration compared to other artists colourmen brands.

This is just a small picture of the different avenues of enquiry professional conservators undertake in their work. It is a complex task of unraveling the materiality of paintings and their unique ageing characteristics, but a very rewarding task. So do not be surprised if a conservator contacts you to ask questions about the production of a work of art or the way it has been cared. Anecdotal evidence is very important and a valid way of understanding paintings. If any of you have any information relevant to the degradation of works of art or the materials, Amerrudin Ahmad (BSLN) or myself (Nicole) would be most appreciative.

Thank you for reading.

Dr Nicole Tsenicoleat@unimelb.edu.auCentre for Cultural materials Conservation, The University of Melbourne

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1 Although this is a Japanese Artist Colourmen supplier, there is a long tradition of oil painting practice in Japan influenced by French academic practices. Given this, it is assumed the practice of applying a glue size layer to protect the textile canvas support from the oil ground layer was employed.

References

Ahmad, A 2011 (in press) details???

Cruz, L, Salvador Paz, J, Soriano, M, 2008 ‘Establishing deterrents to help reduce forgery practices and help secure the authenticity of Philippine Paintings, in J Bridgeland (ed.), ICOM Committee for Conservation, 15th Triennial Conference, 22-26 September, New Delhi, Allied Publishers Pvt. Ltd., New Delhi.

Ebert, B 20?? – I need to get this reference

Halim, S 2009 ‘Uncovering the artist behind the painting: Anthony Poon’s materials, techniques and inspirations’ in Light and Movement Portrayed, Singapore Art Museum, Singapore, p. 239-250.

Learner, T 2004 Analysis of Modern Paints, J.Paul Getty Trust, California.

Tse, N 2009, The Characterisation of Canvas Paintings in Tropical Environments, PhD Thesis, University of Melbourne.

Acknowledgements

Dr Nicole Tse is a recipient of an Australian Research Council (ARC) Post Doctoral Fellowship supported by the ARC Linkage grant ‘The Twentieth Century in Paint’ (LP0883309) in collaboration with ten collaborative partners including the National Art Gallery of Malaysia.

This research was undertaken on the Infrared beamline at the Australian Synchrotron, Victoria, Australia.

I would like to acknowledge Claire Heasman, CCMC Masters Student for the SEM-EDS analytical data.

Figures

Figure 3: Yong Mun Sen. Temple Deities, 1946, Oil on canvas board, framed, 1093 x 862 x 35cm, National Art Gallery of Malaysia. Accession No. 1994.10.

Figure 8: FTIR spectra of pink layer 2 from cross section of Yong Mun Sen, Temple Deities, 1946.

Figure 9: Artist Colourmen Silpakorn University Paints, Material Research Centre for Art and Design, Silpakorn University, Thailand

Figure 10: Natural ageing of Silpakorn Pradit Oil Paints, Silpakorn University

Figure 2: Datuk Mohd. Hoessein Enas, Dua Beradik (Two Sisters), 1962, oil on canvas, 1123 x 910 mm, Malaysia, National Art Gallery, acc. no. 221965.81.

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Figure 5. Cross section of Yong Mun Sen, Temple Deities, 1946, National Art Gallery Malaysia, 100x.

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Figure 6: SEM_EDS spectra from pink layer 2: Identified elements Zn, Mg, Ca, C, O, Fe. Proposed pigment: Zinc Stearate: Zn(C18C35O2)2

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Figure 7: SEM-EDS backscattered electron image of pink layer 2 from cross section of Yong Mun Sen Temple Deities, 1946. Outward growth of crystals indicative of a metallic soap.

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Figure 4: Bottom right corner detail of Yong Mun Sen (b.1896 - 1962). Temple Deities, 1946. Surface of paint is intact however the internal structure is weakened by the presence of metallic soaps.

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In ‘Mother Nature’, Lim Ka Seng has gone full throttle into total abstraction

although he had dabbled with Cubism during the 1970’s. It also marked the first time he painted exclusively in acrylic on canvas after moving into oil on canvas from an established reputation as a watercolourist. This abstract detour came about after he looked like veering into painting figures with slightly thin limbs in his ‘Neighbourhood’ solo exhibition, his fourth, in 2007. The focus was on feminine domestic wiles and maternal instincts, all against darkened interiors and in the oil medium. The exhibition, ‘Mother Nature,’ was held at the Professor Galleria in SS2, Petaling Jaya, the timber-cladded loft gallery at artist-entrepreneur June Yap’s Professor Uniforms shoplot in November-December. His previous four solos since 2002 were all at the City Art Gallery. Ka Seng, 66, had done works in semi-abstract before this. Notably, the flower bouquets and even in some ‘Hill View Series’ works in his 2002 solo, and in the ‘Music and Dance’ Series in his 2005 ‘Analytical Paintings’ solo. More so, in his ‘Recent Paintings’ solo in 2003 featuring stilt-house topography with obfuscating shades of patchwork forms. But in ‘Mother Nature’, Ka Seng has slid into a ponderous Expressionistic reverie with a poetic empathy to Nature – the clouds, the wind, the rivers and the mountains, symbolising life and its edifying qualities. They are rendered not so in their physical forms but as internalised innermost feelings into broad strokes and colours. It’s not surprising that his works were individually inspired by specific poems of William Wordsworth, Edgar Allan Poe, Emily Dickenson and Bloomsbury vanguard Clive Bell, but they were not done in the illustrative way. Besides the literary allusions, there are also elements of music simmering through, as Nature and music are often inextricably linked. These are more melancholic strains and even at times discordant notes, as the works registered a phase of life affirmations after some serious health concerns. His lines are decidedly jagged and serrated but purposeful, with the broad strokes brush-marked with uneven and raw intensity of pigments and hues. Even the rhythm, in odd areas, comes off as a bit erratic rather than one predictable. His works in a ‘stream of consciousness’ gear range from the darker moods of It Was An April Morning, Fresh and Clear and Imaginings Within My Imagining to the more serpentine squiggles with an alabaster-white splotch in Dancing And Fluttering In The Breeze.

A Soft October Night is a melancholy trip of diagonal lines with almost luminous glow with naturally tendril capillary drips, while in Moving from Cheer to Joy, the vein-like lines streak out from the sides. Span of Life, the ‘Mother Earth’ cover piece, shows a phalanx of different-coloured lines hurtling upward, independently, in ambiguous space, suggesting struggles and ambivalent emotions. Ka Seng, born in Port Weld (the present-day Sepetang) in Perak 66 years ago, received his early tutelage in art (Chinese ink painting, watercolours and oil) under Tan Guan Hin, from 1961 to 1964, after which he had a uncompleted correspondence course in watercolours. Guan Hin, who was trained in art in Taiwan, was a student of flamboyant pioneer artist Khaw Sia (1913-1984). Ka Seng eked a living as a hawker, printer-designer before a more stable 30-year career with the Southern Bank, retiring in 2000 as bank manager. Upon retirement, he spent more time on painting, delving into various media like oil and then acrylic in the last decade although by that time, he had established a reputation in watercolours. He did not have his first solo until 2002, although he has been actively taking part in various exhibitions since the Young Artists Exhibition at the National Art Gallery in 1963. He was a member of the Malaysian Watercolour Society, taking part in its annual exhibitions from 1983 to 1987, and also it’s Overseas Exhibition in Melbourne in 1984. He was also the treasurer. Then he co-founded the Contemporary Malaysian Watercolourists Association as a rival group, and was its president from 1998 to 2001, and since then its Adviser. He is also a member of the Penang Art Society and the Perak Art Society (life member). From 1987-1992, he also took part in the Asian Watercolour Confederation exhibitions in Kuala Lumpur, Bangkok, Taipei and Seoul. In 1998, he won the Education Minister Award from the Japan Modern Arts Association Exhibition in Osaka, Japan. Ka Seng likes to move in between various styles, media and subjects as befitting his mood and to challenge himself to open new fronts from which to project his ideas and test out techniques. To him, the only constant is change, but it is to show the variety and diversity of life and also as an exploratory imperative.

LIM KA SENG : MELANCHOLY MUSINGS l Ooi Kok Chuen

The noise of Moment Scoffs at the Music of the Eternal

The Dream Within a Dream

The Span of Life

Lim Ka Seng standing next to his painting, The Noise of Moment Scoffs at the Music of the Eternal

NO ONE would have batted an eyelid if it were in the majors, but

the trickle of Andy Warhol, Roy Lichtenstein, Joan Miro and Zao Wouki was a big thumb’s up to the still fledgling Art Expo Malaysia (AEM), only in its fourth year.

Indeed, a set of Andy Warhol got sold to a Malaysian collector, who preferred anonymity, for RM2 million, while a small work by German Expressionist Ewald Platte (1894-1945), a lesser known contemporary of Emil Nolde and Karl-Schmidt Rotluff, was snapped up for a cool RM120,000.

On the last day of the AEM at the Matrade Exhibition and Convention Centre in Kuala Lumpur, bargain hunters kept up a frenzied last-minute shopping spree, pushing the overall sales from the five-day event (excluding the gala VIP Night graced by the Raja Muda and Raja Puan Muda of Perlis, the patron) to RM11 million – nearly twice the amount from the previous two years’ sales.

While there was encouraging sales of Malaysian works, the ravenous appetite of Malaysian collectors for foreign artists’ works – India, Myanmar, the Philippines, Indonesia, South Korea and China – was an eye-opener, if a little perplexing.

The Warhols were sold by Singapore’s Collectors Contemporary, which also boasted of Lichtenstein (1923-1997) and young hotshots Chris Levine and Russell Young. Don’t the collector wished he had also picked up the Lichtenstein, for only scarcely two weeks later, at the Christie’s New York auction, Lichtenstein’s 1964 painting, Ohhh… Alright, set a sales record for the artist at a US$42.6 million (RM133.4 million) premium!

The influx of the best of Singapore galleries with their cosmopolitan outreach was noteworthy.

If nothing else, the art buying at the AEM proves there are big spenders in art among Malaysians. Some have been known to have stashed their largesse of Impressionist and modern masters in their London homes.

The art sale was not the only thing that raised eyebrows at the AEM. The visitorship also surged and doubled to 12,000, and this in a country never known to be big gallery goers.

The interest spike could have been triggered by the hyped-up 1MCAT (1Malaysia Contemporary Art Tourism) Festival and the RM1.737million turnover at the 1st Henry Butcher Art Auction Malaysia on Aug 8.

That the Art To Rent gallery of Spain managed to sell several limited edition maquette sculptures of Jesus Curia besides the Miro prints vindicated their gamble in sticking to the AEM since its inception.

China’s contemporary art superstars such as Yue Min-jun and Zhang Xiao-gang, with their stratospheric prices, have yet to hit the AEM but Taiwan’s William Contemporary Art Space was also testing the waters by bringing in their prints (editions of 130).

South Korea, through the International Artists Cooperative Organisation vehicle, never failed to impress with works such as those by IACO president Alvin Lee Bung Lyol, Shin Dal Ho, Kang Sung Uck, Kim In Sook, Kim Jong Wong and Suh Yoon Jae.

While the art from Thailand and Vietnam were conspicuously absent, the debut of Pakistan with their strong figurative art was a revelation. Works by Saeed Akhtar , Ahmad Khan (calligraphy), R.M. Naeem and Ali Azmat certainly impressed.

Also making their debut was the Art For All Macaunese co-operative, while Japan, which had the Grandmother of Pop, Yayoi Kusama, last year, had a bigger representation with the Asian Artists Network group.

For the second year, the National Art Gallery came in as co-organisers and chose a selection of its sculpture collection in its Transmetalsi showcase, with works from aboriginal woodcarvings such as those of the Hampatung guardians and Borneon masks to contemporary works by Tengku Sabri Tengku Ibrahim (wood-carved totems), Raja Shahriman Aziddin (spiky Gerak Tempur) and Mad Anuar Ismail (keris-hilt standee).

The main ‘entertainment’ attraction was the 3D animation work, RESTART, the latest by Miao Xiao Chun, whose Microcosm proved to be a bit hit last year. This time, the maestro himself was present, and gave a talk offering insights into his work.

Also garnering great attention was China’s newly emerging Chinese brush icon Wang Xi-Jing (heading the Shaanxi Artists Association) and Taiwan’s 85-year-old national art treasure Li Chi Mao. Both gave painting demonstrations which astonished the spectators of their innate skills.

Wang Xi-jing was also represented in Hong Kong’s reputable Chit Fung, which also boasted of works by Wang Ming Ming, Pan Gongkai and Li Xiaoke (son of Li Keran). Other attractions were the Cuiheng Culture and Art Village (China) and Peter Liew’s Archi-Heritage.

The AEM also provided booths for embassies of Argentina, Cuba and Ecuador to showcase their Latin flavoured art, for the enjoyment of aficionados locally and also to forge links with the far-away lands.

The AEM, to further promote art in the country, was still free, and also provided free shuttle bus services to convenient locations in the city centre.

For the first time, the AEM was fortunate to have found a major sponsor, Secret Recipe, the Made-In-Malaysia restaurant franchise that has spread to Australia, Brunei, China, Indonesia, Pakistan, the Philippines, Singapore, and Thailand. The AEM also received very strong support from the Tourism Ministry, which heavily promoted it overseas.

The AEM seemed to have leaned more towards contemporary art if the 4th edition was anything to go by. But where participation is based on the lottery of willing-paying clients, after vetting of their credentials of course, much will depend on the players of the day.

The AEM attracted 49 galleries/art spaces from Spain, China, Indonesia, Germany, Hungary, India, Myanmar, Taiwan, the Philippines, South Korea, Ecuador, Cuba, India, Japan, Argentina, Pakistan, Macau, Hong Kong and Malaysia.

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A latter-day batch of Andy Warhol Campbell Soup silkscreen’s put up by Singapore’s Collectors Contemporary

TransmetalsiLi Chi Mao giving a painting demonstrationThe AEM attracted artists not only from all over the country, but Eng Tay (right)flew out from his New York home base specially for the even.

At the AEM opening (from left): AEM organising chairman Vincent Sim, Deputy Tourism Minister Datuk Dr James Dawos Mamit (representing the Tourism Minister Datuk Seri Dr Ng Yen Yen), and National Art Gallery Director-General Ambassador Dato’ Mohd Yusof Ahmad

AEM 2010 REVIEW l Ooi Kok Chuen

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PERSIDANGAN SENI HAO : CABARAN DAN PASARAN SENI KONTEMPORARI ASIA TENGGARA l Faizal Sidik

Adakah penggiat seni di Asia Tenggara sudah bersedia menghadapi permintaan peminat seni antarabangsa yang tinggi terhadap seni kontemporari di sini? Adakah juga sistem seni yang diamalkan di rantau ini juga telah benar-benar boleh dibanggakan bagi menampung permintaan pasaran seni semasa dengan ‘boom’ nya seni kontemporari Asia terutamanya di India dan China?

Persidangan Seni HAO 2010 atau ‘The 2nd HAO Summit’ di Singapura adalah platform bertindak balas dimana ia merupakan program pembangunan profesional untuk penggiat seni serantau terutamanya pelukis muda, kurator dan pengurus seni. Dari 11 hingga 15 November 2010, persidangan kedua ini telah dimajukan oleh dua buah organisasi seni yang berpengaruh di Singapura iaitu ‘The Substation’ dan ‘Villains’ iaitu sebuah kolektif seni pelbagai media. Mengambil daripada perkataan ‘hao’ yang bermaksud ‘baik’ dalam bahasa China dan ‘how’ iaitu ‘bagaimana’ dalam bahasa Inggeris. HAO dibaca sebagai sebuah pertemuan ‘bagaimana’ untuk mencari jalan ke arah ‘kebaikan’ yang wujud atas kesedaran kurangnya tindakbalas yang lebih profesional dan peluang jaringan dikalangan generasi

muda Asia yang mempraktikkan seni kontemporari. Persidangan HAO pada edisi kedua ini mula membuka ruangnya kepada12 penyertaan luar bukan sahaja dari Singapura malah kepada pekerja seni di Asia Tenggara yang telah berkecimpung secara aktif sekurang-kurangnya 6 tahun dalam industri kreativiti ini dan berminat bagi mengembang dan membangun mengikut keperluan komuniti mereka.

HAO merupakan persidangan pembangunan strategi jangka panjang, bermentorkan kepada pemangkin-pemangkin industri seni dan perkongsian maklumat dan budaya sesama Asia Tenggara. Persidangan HAO direncana untuk merapatkan lagi jurang wilayah pasaran baru seni kini yang mana daerah tenggara ini sedang meletup. HAO diharap dapat membantu mereka mengembangkan, merubah dan bersaing dalam pasaran seni global.

Program ini berorentasikan aktiviti, interaktif di antara pelatih dengan fasilitator yang berada di dalam kumpulan di mana mereka dikenali ‘HAO Fellow’ untuk berkongsi dan bekerjasama dalam aktiviti kumpulan sepanjang program ini berlangsung. Peserta dalam persidangan ini dicabar untuk berfikir di luar kotak lingkaran. Apa yang menariknya dalam program ini adalah mereka akan berinteraksi dengan pakar-pakar yang dijemput oleh penganjur dalam pelbagai sektor, termasuk pembuat polisi, pakar-pakar pemasaran dan pengurusan kreatif bagi menjelaskan keadaan sebenar seni di sini di samping berkongsi pengalaman mereka yang telah lama ‘bermain’ dalam arena serantau.

Menceritakan sedikit tentang sejarah HAO ianya diilhamkan oleh ‘The Substation Associate Artist’ atau Persatuan Artis Substation yang diketuai oleh Khairuddin Hori, dimana edisi pertama Persidangan HOA telah diadakan pada tahun 2008 di Pulau Sentosa, Singapura oleh ‘The Substation’ yang dianjurkan bersama oleh Khairuddin sendiri bersama Audrey Wong iaitu bekas pengarah bersama artistik ‘The Substation’ dan juga pernah dicalonkan sebagai Ahli Parlimen.

Pada edisi kedua ini ‘The Substation’, yang diwakili oleh mereka berdua menjemput Villains Creative Agency sebagai kurator. Villains merupakan kolektif kreatif yang ditubuhkan pada 2009 oleh mereka yang berpengalaman dalam seni halus, rekaan grafik, perfileman dan pengurusan produksi dalam mencorakkan program dan memilih penceramah dan fasilitator pada persidangan kali ini.

Penceramah dan fasilitaor pada kali ini terdiri daripada profesional yang telah terbukti dalam bidang masing-masing antaranya ialah Margeret Chan (penggiat, Penolong Profesor Singapore Management University), Rich Streitmatter (artis seni persembahan dan penyelidik), Steve Lawler (pengarah kreatif Kult Magazine), Howard Chan (pemogram budaya), Mikal Telle (ketua eksekutif Telle Records, pentadbir dan pengurus artis), Zaki Razak (artis dan penulis), Audrey Wong (ketua program sarjana kesenian dan pengurusan budaya, pentadbir dan pengasas HAO), Marco Kusumawijaya (urbanis dan arkitek), Khairuddin Hori (pengasas HAO, artis dan kurator Singapore Art Museum)

Antara fakta-fakta menarik yang boleh dikongsi dalam persidangan ini adalah daripada pembicara kedua iaitu Rich Streitmatter iaitu artis seni persembahan dan juga penyelidik dari Ho Chi Minh City, Vietnam menyampaikan topik berikutnya iaitu ‘Visual Syllables: The Diacratic Exercise’ atau ‘Syllables Visual: Latihan Diakratik’. Kelainan dalam sesi kali ini adalah beliau tidak berada dalam masa dan tempat yang sama dengan peserta. Peserta hanya melihat rakaman secara video dengan Rich yang disediakan oleh penganjur. Dalam penyampaian beliau banyak membuat perbandingan antara citarasa atau taste dan buangan atau waste.

Menurutnya konsep minima iaitu menolak produksi besar-besaran dalam seni boleh mengurangkan pencemaran. Menurutnya lagi pencemaran dan konsumerisme adalah merupakan dalam ekologi perniagaan, beliau menyarankan seni konsumer iaitu seni interaktif dua hala di antara audien dengan objek seni bagi mengurangkan pencemaran.

Beliau juga menyentuh dengan rekaan yang menarik dan trend semasa konsumer, apa yang dikatakan sebagai ‘projek organik’ oleh kapitalis. Menyentuh dengan konsumerisme moden pada hari ini Rich mengatakan produk perkhidmatan oleh penyedia pencarian web internet Google iaitu ‘Google Map’ merupakan produk pengguna percuma atau ‘free consumer’ yang mana ia boleh dikongsi seluruh umat global yang mesra pengguna lagi memudahkan.

Tambah beliau lagi Kitar Semula merupakan satu ‘projek’ yang telah direncanakan sejak awal lagi kerana ia akan membawa pulangan wang lumayan bagi sesetengah pihak dan akan memerangkap tingkah laku kita. Beliau juga mengaitkan dengan media sosial pada hari ini iaitu ‘Facebook’ sebagai platform alternatif dalam membuat duit yang menidakkan pihak tengah, walaupun penolakkan orang tengah ini bukan isu baru dengan kehadiran blog-blog perniagaan secara talian, hubungan ‘jiwa’ yang dibina oleh laman web sosial itu tadi lebih kuat tarikannya.

Villains, kolektif kreatif yang terdiri daripada Razi Razak, John Ling, Farizwan Fajari dan Djohan Johari mengambil alih dengan menyampaikan tajuk ‘Reflections of a Creative Quartet’. Mereka yang bekerja sebagai sebuah kumpulan artis merentangi disiplin kreatif seperti seni halus, rekaan, perfileman termasuklah multimedia mempunyai visi dalam mencari dan mendekatkan audien dan pelanggan mereka dengan idea-idea yang inovatif dan menarik untuk dikongsi. Dalam projek dan program yang dilakukan oleh Villains mereka ingin mewakili tangan-tangan gelombang yang mempengaruhi generasi muda dengan visi yang unik dan idea-idea yang kritikal dalam penghasilan artistik.

Pelukis biasanya lebih senang bekerja secara individu dalam berkarya namun Villains banyak berkongsi pengalaman bagaimana mereka dapat bekerja secara kolektif walaupun masing-masing mempunyai kepakaran bidang yang beza dalam membina program atau menyertai pelbagai pameran sebagai kurator dan artis yang boleh bekerjasama dalam satu bumbung. Mereka cuba memecahkan dinding sempadan konvensional yang diciptakan oleh pengkarya individu kepada entiti berpasukan yang mempunyai misi yang sama menjana pengalaman, wacana, informasi dan inspirasi antara sesama mereka.

Pengarah kreatif majalah seni reka grafik iaitu ‘Kult’ yang juga seorang pelukis, Steve Lawler menyampaikan cabaran-cabaran yang boleh dihadapi dalam penerbitan majalah grafik dan illustrasi dengan tajuk ‘Kult of Printed Word’. Steve lebih selesa menggelarkan diri sebagai kurator majalah dan buku yang mempunyai latar belakang pendidikan Seni Reka Grafik dari Brighton University dan pernah melibatkan diri di beberapa syarikat penerbitan majalah dan periklanan seperti ‘Color Magazine’ dan bekerja secara eksklusif dengan produk jenama ‘Diesel’ bersama tenaga kreatif di Selatan Itali. Dari situ beliau beralih ke Asia dan banyak melakukan kerja-kerja pembinaan laman web dan kempen periklanan untuk jenama global di bawah bumbung OgilvyOne Singapore.

Beliau kini merupakan pengarah kreatif Kult3D yang terlibat dengan projek di Asia samaada idea yang bersifat komersial dan eksperimen. Beliau juga sering dijemput untuk membuat rekaan majalah, selain mengadakan wokshop dan banyak bereksperimentasi dengan media baru. Menurut beliau mengkuratorkan majalah atau buku tidak banyak perbezaan dengan idea daripada kerja-kerja mengkuratorkan pameran. Ia menuntut seorang kurator untuk melakukan penyelidikan dan lawatan ke galeri-galeri swasta mahupun ke kolej atau universiti untuk mencari bahan untuk dimuatkan ke dalam majalah. Majalah ‘Kult’ menghimpunkan pelbagai rekaan ilustrasi dari pelbagai negara dengan membawa konsep ‘see a magazine like you’ve never ever seen before’ atau ‘melihat majalah yang anda tidak pernah sesekali melihatnya sebelum ini’.

Pokok kepada pengkuratoran majalah beliau ini ialah usaha seboleh mungkin untuk membawa kandungan isi majalah atau rekaan secara interaktif atau dekat dengan pembaca. Beliau cuba untuk menukar konsep pengguna estetik pergi ke galeri untuk melihat pameran dengan meletakkan objek estetik secara interaktif kepada pengguna ditempat yang menjadi pilihan mereka.

Howard Chan pula merupakan aktivis program budaya di Hong Kong. Program budaya yang direncanakan beliau menjambatani ilmu dalam bidang yang berbeza dan berpusatkan kepada masyarakat. Pada tahun 2002 beliau mengasaskan bersama dan pengerusi kepada Community Museum Project (CMP), sebuah kolektif kuratorial dan penyelidikan yang cuba menolak konsep vernakular muzium atau muzium tanpa dinding ‘Museum without

Roy LichtensteinEXPLOSION I

Porclain enamel atas besi98 x 67 inci 248.9 x 170.2 cm

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HAO Summit 2010 di ‘The Substation’

Zaki Razak, ‘Like A Bridge Over Troubled Ideals - A Symposium’

SOH BOON KIONG: PELUKIS RESIDEN BARU DI UNIVERSITI MALAYA l Lim Ai Woei

a wall’ yang cuba menyelesaikan masalah budaya setempat dalam kehidupan harian masyarakat.

Program seterusnya adalah merupakan simposium di pengerusikan oleh Zaki Razak bertajuk ‘Like a Bridge Over Troubled Ideas-A Symposium’ atau ‘Simposium-Idea Yang Bermasalah Seperti di Jambatan’ menariknya persidangan meja bulat ini diadakan betul-betul di atas jambatan aras 4 LaSalle College of Art. Jemputan panel terdiri dari pelbagai bidang terutamanya daripada tenaga pengjar LaSalle dan ‘Fellow HAO’ iaitu peserta sendiri. Dalam simposium panel meja bulat yang terdiri daripada pengiat seni muda, pensyarah seni dan pengiat teater banyak membicarakan isu-isu semasa seni kontemporari di rantau ini terutamanya di Singapura.

Zaki Razak selaku peneraju simposium memulakan dengan meminta pendapat panel bagaimana apa yang dikatakan ‘Renaissance’ dalam seni kontemporai Singapura dengan adanya acara-acara besar seperti Singapore Biennale dan ekspo seni seperti Art Singapore ia membuka mata peminat seni untuk datang dengan jumlah pengunjung yang tidak pernah difikirkan sebelum ini, malah ia bukan sahaja memberi kesannya terhadap Singapura sahaja malah negara-negara Asia Tenggara yang berhampiran turut merasai angin perubahan pasaran seni ini. Sungguhpun begitu terdapat isu-isu lama yang masih belum selesai dari sudut ketidakbebasan ekspresi artistik daripada kerajaan mereka sendiri dimana menyekat penghasilan karya yang mengkritik pemerintah yang dibangkitkan oleh panel terutamanya penggiat muda. Selain itu isu yang menjadi popular dimana-mana perjumpaan seni iaitu dari aspek dana, geran dan bantuan kewangan dalam penghasilan artistik.

Audrey Wong yang merupakan ketua program sarjana pengurusan seni dan budaya, pentadbir dan pengasas bersama HAO menghujah tajuk ‘The Myth of The Struggling Artist’ atau ‘Mitos Pergelutan Pelukis’ dimana beliau menyentuh persoalan kepada peserta: adakah pada masa kini pelukis untuk pelukis? atau pelukis membantu pelukis yang lain? (Pada masa dahulu kegiatan artistik adalah atas dasar keseronokan, berbeza penggiat hari ini yang mempertaruhkan wang ringgit untuk mereka terus hidup bagi membayar sewa dan bil bulanan). Lantas beliau menuntut supaya sikap mereka lebih profesional berbanding lima puluh tahun sebelum.

Soh Boon Kiong, pelukis yang dilahirkan pada tahun 1966 di Malaysia dan kini menetap di Amagasaki, Jepun sejak tahun 1998, telah terpilih sebagai pelukis residen yang baru di Universiti Malaya.

Soh Boon Kiong, anak kelahiran Kuantan, Pahang, melanjutkan pelajarannya di Sorbonne dan Ecole Nationale Superieure des Beaux Arts de Paris dari 1988 to 1993, dan menetap di Jepun selepas berkahwin dengan isterinya. Beliau yang fasih dalam 5 bahasa pernah mengadakan pameran solo di Singapura, New Zealand, Jepun dan Malaysia. Komuniti penghimpun karyanya berasal dari Paris, Tokyo, London, sehingga New Zealand, Estonia, Jordan, Singapore dan juga dari Malaysia sendiri. Pameran solo Soh Boon Kiong ke-17 yang bertajuk “The Lyrical Flow” berlangsung di Muzium Seni Asia, Universiti Malaya dan telah dirasmikan oleh Duli Yang Maha Mulia (DYMM) Sultanah Pahang, selaku Penaung Seri Kencana Kalsom Foundation dan turut dihadiri Duta Besar Perancis, Tuan Yang Terutama.

Ini adalah kali kedua Soh Boon Kiong mengadakan pameran solonya di Universiti Malaya mengikuti tema “Ukuran/skala besar” (“large formats”). Pameran pertama diadakan pada tahun 2008. Karya Soh Boon Kiong dipengaruhi oleh pelukis impresionis Perancis seperti gerakan “Lyrical Ekspresionisme” yang bermula pada tahun 50an di Paris. Ia juga menarik inspirasi dari lukisan lama landskap “San-Sui” China. Ia merupakan hasil campuran unik lukisan serta kaligrafi Cina dari ekspresi artistik pelukis dengan menggunakan cat akrilik atas kanvas dalam mengingatkan gaya pengaruh lukisan impresionis Perancis bergabung estetika landskap lukisan China.

Muzium Seni Asia menyedari pentingnya memelihara seni tempatan dan selaras dengan langkah Universiti Malaya dalam usaha mempromosikan seniman tempatan. University Malaya sebagai pelopor dalam bidang seni telah mengambil usaha ketara melalui kewujudan Muzium Seni Asia yang mencerminkan usaha merintis universiti dalam mempromosikan seni.

Tempoh residensi selama satu tahun sejak Disember 2010, pelukis telah menghasilkan karya seni dan akan ditempatkan di universiti, langsung menjadi koleksi kekal untuk pengunjung awam. Masyarakat awam boleh membuat kajian akademik dan penulisan kajian tentang lukisan serta pelukis berdasarkan koleksi ini.

Dalam ucapan Datuk Dr. Gauth Jasmon, Rektor Universiti Malaya, memberi jaminan bahawa universiti akan memberi sokongan untuk bakat tempatan yang telah menjejakkan kaki mereka di arena antarabangsa: ”Di Universiti Malaya, Kuala Lumpur, kami bangga dan menyokong serta memelihara seni, terutama dalam mempromosikan karya seni tempatan di kampus dengan ini saya menyokong perkembangan seni tempatan”.

“Universiti Malaya mencari pelukis residen yang berpadanan dengan reputasi antarabangsa, dan kami berbesar hati telah menemui Soh Boon Kiong,” katanya, sambil menambah bahawa Soh Boon Kiong telah dipilih sebagai Pelukis Residen UM yang terkini. UM telah melantik Pelukis Residen yang termashyur seperti Allahyarham Datuk Ibrahim Hussein pada 70an seterusnya Datuk Syed Ahmad Jamal (Seniman Negara) pada tahun 80an dan mendapat sambutan di Malaysia dan antarabangsa. Pentingnya, pelukis Residen yang dilantik telah diakui oleh Universiti Malaya seperti koleksi seni karya pelukis tempatan termasuk karya Datuk Chuah Thean Teng, Datuk Syed Ahmad Jamal, Allahyarham Dato’ Hoessein Enas dan Allahyarham Ibrahim Hussein. Terdapat juga karya pelukis pelopor seperti Chen Hwen Hsi, Lai Fong Mooi dan lain-lain sebagai warisan khazanah negara yang tidak ternilai harganya.

“Pemilihan Ibrahim Hussein sebagai pelukis residen bertahun-tahun lalu menghasilkan koleksi karya seni di atas kanvas mahupun yang di dinding bangunan yang dikenali sebagai mural kreatif. Universiti Malaya sekarang dalam proses penentuan dan mengenal pasti karya seni dan mural sebagai sebahagian dari warisan koleksi karya seni,“ seperti mana kenyataan Datuk Dr. Gauth Jasmon. Selain dari pelukis tempatan, pelukis antarabangsa termasuk beberapa pelukis terkenal seperti MF Hussein dari India juga dalam perjalanan ke koleksi muzium.

Demikian juga, Soh Boon Kiong mendapat kehormatan untuk dipilih sebagai pelukis residen universiti. “Ini adalah kehormatan dan saya sangat bangga akan dijemput untuk menjadi Pelukis Residen di Universiti Malaya. Dalam jangka masa pelantikan ini, saya akan menumpukan kepada membantu

Universiti Malaya melalui kegiatan-kegiatan artistik dan pertukaran budaya di peringkat antarabangsa yang bertujuan memanfaatkan pengetahuan artistik yang akan terbukti sangat berharga bagi mahasiswa di Universiti,“ katanya bahawa di akhir residensi, beberapa lukisannya akan disimpan di dalam koleksi kekal universiti dan juga melalui persediaan Soh Boon Kiong Galeri, semua kajian karya seni tentang karyanya akan rujuk kepada koleksi galeri ini .

Namun di sini terdapat konflik minat samaada mencari jalan selamat untuk bekerja agar setiap bulan mendapat habuan yang tetap atau terus berada dalam arus perdana kesenian dan terus mendapat perhatian. Bantuan dana dan geran daripada keprihatinan kerajaan sedikit sebanyak memberi sinar baru kepada pelukis pada hari ini yang bergelut dengan masalah kewangan bagi berkarya. Pelukis hari ini perlu yakin walaupun audien dalam bidang mereka tidak besar mereka juga boleh hidup seperti manusia yang lain, terima kasih pada dunia komersial dalam penghasilan seni pada hari ini kerana selagi ada peminat dan permintaan (kolektor) yang menanggapnya sebagai objek komoditi selain estetik selagi itulah penawaran (produk seni) dari pelukis itu akan dihasilkan dan menjamin survival seorang pelukis.

Marco Kusumawijaya dari Indonesia, seorang urbanis dan arkitek merupakan juga pengasas Rujak Center for Urban Studies atau ‘Rujak’ yang memfokuskan pengkajian dan praktis terhadap idea pembandaran yang mampan. ‘Rujak’ yang bermaksud Ruang Jakarta bermatlamat untuk membina Jakarta sebagai bandaraya yang mampan untuk diduduki. ‘Rujak’ juga mempunyai blog di mana ia memberi ruang warganya menyalurkan idea, tindakan, soal jawab, tahu bagaimana, cabaran dan cadangan-cadangan yang boleh dikongsi bagaimana mentransformasikan bandaraya ini dengan sebaiknya. Dalam tajuk ‘The Pragmatic Art’ beliau banyak menyentuh bagaimana membebaskan ruang public dengan membawa seni kepada ruang tersebut dengan penglibatan audien itu sebagai objek tumpuan. Katanya, bandar-bandar besar yang menjadi tumpuan penduduk dahagakan ruang-ruang spontan yang boleh membina kreativiti komunitinya. Ruang-ruang urban ini perlu kepada kesenian yang berbentuk protes, provokasi, berfikir dan menyoal kembali. Menurutnya tugas pelukis untuk membebaskan ruang ini bukan sahaja untuk ekspresi semata-mata malah menawarkan ruang bermeditasi seperti yang dilakukan di kebanyakan negara-negara Eropah. Perancangan tidak seharusnya merosakkan ekologi dan apa yang merisaukan beliau adalah jika masyarakat tidak dapat merahsiakannya lagi.

Program disambung dengan tajuk ‘History of Contemporary Art In Singapore Version 6’ oleh Khairuddin Hori iaitu kurator di Singapore Art Museum yang juga merupakan seorang pelukis. Peserta didedahkan dengan retrospektif perkembangan seni

kontemporari Singapura dengan pemain-pemain utamanya dari tahun tujuh puluhan sehingga ke hari ini, kontroversi yang melingkarinya, bermula displin yang pelbagai atau dalam seni, interaksi serantau seperti ekspo seni dan biennial, kelahiran pelukis sebagai kurator yang mengisi kelompongan apresiasi, penerbitan seni, sokongan kerajaan dari segi dana dan geran, pendidikan seni, galeri komersial dan perubahan pucuk pimpinan dalam institusi seni dan pembuat polisi. Khairuddin juga menerangkan perancangan sehingga jangka panjang institusi seninya itu dengan sebuah bangunan baru National Art Gallery Singapore akan siap pada tahun 2012 dan ia akan menyimpan koleksi seni lukis moden secara berasingan. Mereka juga merancang untuk menjadikan Singapore Art Museum (SAM) sebagai pusat rujukan utama di rantau ini yang akan memberi fokus kepada seni lukis kontemporari Asia Tenggara. Satu sayap baru dengan pengambilan sebuah bangunan lama bersebelahan dengan SAM iaitu ‘8Q’ dijadikan ruang pameran seni kontemporari antarabangsa yang datang dari luar negara yang dirangka untuk merancakkan lagi program di samping menarik kedatangan pengunjung luar ke Singapura.

Kedatangan rumah lelongan seni antarabangsa seperti Christies dan Sothebys di Malaysia dan Singapura sedikit masa dahulu yang kini merajuk ke Hong Kong kerana pasaran yang lebih besar oleh kebangkitan ekonomi Asia Timur, kini perlu memikirkan kembali untuk hadir bermain semula di rantau ini. Rumah lelongan domestik seperti Masterpieces, Larasati dan Borobodur di Indonesia dan baru-baru ini Henry Butcher di Malaysia yang mencatatkan jualan RM 1.7 juta hasil daripada lelongan sulungnya menunjukkan potensi pasaran yang kian memberangsangkan di rantau Asia Tenggara.

Jaringan:

The Substation – • http://www.substation.orgThe Substation Associate Artist - • http://www.substation.org/associate_artistsVillains Creative Agency – • http://www.v-lla-ns.comDiacratic.org – • http://www.diacritic.orgKult Magazine – • http://kult.com.sgCommunity Museum Project (CMP) – • http://www.hkcmp.orgRujak Center for Urban Studies – • http://rujak.org

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DYMM Sultanah Pahang melawat Pameran Solo Soh Boon Kiong

(kiri ke kanan) Pelukis residen UM Soh Boon Kiong, DYMM Sultanah Pahang dan Datuk Dr. Ghauth Jasmon melawat pameran

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PETALING JAYA: A vintage 1969 acrylic painting by Datuk Ibrahim

Hussein called The Dream is believed to have set a Malaysian auction record when it sold for RM500,500 at the first Henry Butcher Art Auction at Wisma Bentley Music here on Aug 8.

The auction of Malaysian Modern and Contemporary Art Collection, officially opened by Minister of Tourism Malaysia, Yang Berhormat Dato’ Sri Dr. Ng Yen Yen, and touted to be the first of its kind in Malaysian art history, recorded a total of RM1,737,910 in sales, with 52 out of 62 works sold, registering a success rate of 84%. Thirty-two of the works on offer were sold above the estimates.

Another two Dato’s, pioneer artists Hoessein Enas and Chuah Thean Teng, snared the next top places with Hoessein’s 1954 Javanese Girl realising RM127,600 while Chuah, the world acknowledged batik-painting founder, took the 3rd spot with his Mother and Children raking in RM114,400 after some intense bidding.

The auction, arguably one that is the largest and most professionally-run, was dedicated exclusively to Malaysian art and attracted a standing room crowd of more than 300 people, with bidders coming from as far as Penang, Sabah and Singapore.

The highlight of the auction was none other than The Dream, which Ibrahim (1936-2009), or Ib as he was better known, had sold to a United Nations officer based in Kuala Lumpur in the early 1970s. The collector had since taken the work with him in his postings all over the world. After some intensive competition from determined bidders, this rare work has finally found its new home back in its home country after nearly 40 years of traveling around the world.

Dato’ Mohd Hoessein Enas (1924-95) proved to be another star at the auction. His 1993 pastel on paper work, Peasant Girl, which was the first lot to go under the hammer, drew interests from no less than eight bidders in the room and two telephone bidders, who competed fiercely as soon as the auction went live at 3.30pm sharp. It was finally sold for RM44,000, well

over its original estimate, and drew a round of applause from the crowd. Another one of Enas’ work, an oil on canvas titled Javanese Girl, which was first sold at Christie’s Singapore in 1996, also attracted some very intense bidding before finally clinching RM127,600. Of the two top-draw works by Chuah (1912-2008), better known as Teng, the classic Mother with Children finally went to a London-based buyer at RM114,000 after attracting some 24 bids from several serious collectors who were eyeing the work, while a rare mixed media work from Teng, Two Cockerels and a Hen sold for RM90,000 post-auction.

Landscape and heritage artist Peter Liew’s 1997 oil on canvas, Golden Malacca, fetched RM72,600 while Lim Kim Hai’s Gentle Breeze went for RM120,000 in another post-auction sale.

Chia Yu Chian was also popular among the bidders, with his lively depiction of KL Street Scene (Lebuh Pudu) in 1985 hitting RM37,400 while his early work, Paris Street Scene done in 1960 sold for RM24,200.

Of the other pioneer artists, Yong Mun Sen (1896-1962) did well with his 1948 watercolour fetching RM24,200 and two 1953 works garnering RM27,500 and RM34,100 respectively. The 1953 works were part of the 148 works listed in the collection of his widow Yao Chew Mooi, which were appraised by the London-based firm Spink and Son.

However, the highest priced watercolour was not Mun Sen’s but the RM42,900 paid for Chang Fee Ming’s Drying, a seminal work to the artist’s career as it brought him his first Malaysian Watercolour Society Awards in 1984. Another one of Fee Ming’s early works, his 1987 Kathmandu Market Scene also did reasonably well at RM14,850.

Penang’s watercolour legend Tan Choon Ghee also made a strong presence, with all his watercolour works on offer selling beyond their original estimates, the highest being the RM14,850 paid for his KL Railway Station work, while Lim Kim Hai who is famous for his apple paintings, saw his rare 1985 watercolour of a French countryside fetching RM14,300.

Also hitting five-digit for a watercolour was Khalil Ibrahim for his 1990 Beach Vista, which garnered RM11,000, and a 1993 classic work from his Fishermen series fetching RM12,100.

Some of the country’s most revered veteran artists were also well represented with Dato’ Sharifah Fatimah Zubir’s commissioned piece, Awakening fetching RM48,400 and a 1982 Lilac Landscape from Jolly Koh going for RM24,200, while Awang Damit’s Alun Alun keMarista 6-97 was sold for RM9,900.

Among the younger artists represented, Jalaini Abu Hassan, more affectionately known as Jai, proved himself to be one of the nation’s most sought after contemporary artists when his early work from 1999, Lukisan Kertas Chap Reben was sold to a telephone bidder for RM26,400 against its original estimate of RM10,000-12,000. Other contemporary artists with works selling at the upper end of their original estimates were Zulkifli Yusoff, Yee I-Lann, Kow Leong Kiang, Pheh It Hao and Marvin Chan.

Smaller works priced below RM5,000 had its fair share of the market too, with names like Mansor Ghazalli, AB Ibrahim, Peter Harris and Lui Cheng Thak leading the way.

MALAYSIA’S FIRST ART AUCTION RECORDED SALES IN EXCESS OF RM1.7M l Jessica Ho

Ibrahim Hussein’s The Dream which was sold for RM500,500.

Telepnone and absentee bidders joined in the action.

Peasent Girl and Javanese Girl by Dato’ Mohd Hoessein Enas were sold for RM44,000 and RM127,600 respectively

Dato’ Syed Ahmad Jamal & Wife, Director-General NAG Ambassador Dato’ Mohd Yusof Ahmad, Mr Lim Eng Chong, Pn Zanita & Mr Vincent Sim

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All in all, this was a historical occasion and landmark event filled with excitement from the moment Henry Butcher opened its registration counters to potential bidders at 2.00pm. The entire 4th floor of Wisma Bentley Music was literally filled to the brim and buzzing with an air of anticipation as the crowd, which included some of the most prominent corporate figures, collectors, gallery owners, artists and critics, stayed all the way until 6.00pm when the auction officially ended.

Encouraged by the overwhelming response from the market, Henry Butcher Art Auctioneers is planning to stage two sales for next year, with the first slated for May/June 2011. The company is also planning to seek the cooperation of the Minister of Tourism in the promotion of Malaysian arts by way of auction in Hong Kong, China and Singapore. Invitation to consign works for the upcoming sale will commence from next month. Interested parties can contact the auction house at 012-260 7303 or 03-2694 2212 or email info@hbart.com.my. Auction results are available on www.hbart.com.my.

“THE HENRY BUTCHER ART AUCTION” l Interview by Anis Amizan

Malaysia’s first art auction records sales in excess of Rm1.7 million. The Henry Butcher Art Auction held recently was a historical occasion and landmark event in the local art scene. The entire 4th floor of Wisma Bentley Music was literally filled to the brim and buzzing with an air of anticipation as the crowd, who included some of the most prominent corporate figures, collectors, gallery owners, artists and critics, stayed all the way until 6pm when the auction officially ended.

For this issue, SENIKINI has made an interview about the auction with Lee Khai and Jalaini Abu Hassan.

What is your opinion about the first auction that was organized by Henry Butcher?

1) Lee Khai

“It is a good start as the Henry Butcher Art Auction is a launch of a truly local secondary market for fine art. To establish a healthy secondary market in Malaysia, we need more fine art auction houses”.

2) Jalaini Abu Hassan

“Most encourage. This is a sign that Art Industry starting to grow and it does attract investor”.

How you choose your favourite artwork?

Based on market impunities or depending on the uniqueness of the painting itself?

1) Lee Khai

“Both my personal liking of the art piece and the investment value is important to me. I do not suggest anyone buy art purely for its investment value, thought it can be a very good investment. One must first be attracted to the art one acquires”. What painting do you want to see in the next art auction?

1) Lee Khai

“Hopefully in the future there can be enough interest and that it will eventually be viable to have specialized auctions for different types of find art e.g. Pioneer Artists, Modern & Contemporary Art, Chinese Art, and Sculpture”.

2) Jalaini Abu Hassan

“Contemporary Art Work and also historical artwork”.

What is your opinion about Market Value ‘Artwork’ in the art industrial either in Malaysia or International?

1) Lee Khai

“Without a vibrant auction market in Malaysia, ‘market value’ is an arbitrary term at best. Is the market value of a Malaysia artist’s works based on what art dealers or galleries claim them to be? Or what the artist himself claims them to be? A sprinkling or our artists have their works auctioned at Sotheby’s and Christie’s in Singapore and Hong Kong, but as those places are not the primary market for their works, the auction prices do not actually reflect their value. Thus, the need for a vibrant secondary market in Malaysia”.

2) Jalaini Abu Hassan

“The market value of local artist artwork is lower compare with our neighbour country example Indonesia and Filipina. In the other hand, this is a good time to buy Malaysian artwork before the market is going up”.

YB Dato’ Sri Dr. Ng Yen Yen with the Henry Butcher Team.

Signing ceremony

Award winning Drying by Chang Fee Ming sold at RM42,900. Mother with Children by Dato’ Chuah Thean Teng went for RM114,400.

16The Translation of 2010 The 1st Next

Super Star (Features Report of Chinese Contemporary Art News)

Dear Mr. C.N. Liew,In your boldly style, you have transformed the explicit impression into a splendid shape. It is indeed a miraculous piece of work. You are like what Master Tien Tai has stated, “the heart is like a skilled painter”. My heart is deeply touched.

Dr. Daisaku Ikeda(Recipient of United Nations Peace Award & Poet Laureate)

Men have always strived to elevate themselves spiritually through an affinity to arts. Such is the “lifequest” of the artist in his pursuit to achieve oneness with his mind and the pulse of life aesthetics.

CN Liew draws inspiration from life itself.

Through his hand grasping the varied styles of calligraphy, he meditates deeply in its history and reflects upon the current state of calligraphy with which the Zen style provided a beacon of light in the elevation of a new art form. The “present” is a cornerstone of Zen style and progressive; it is as if the state, “this one Wu Jing” (Awareness) requires the perfect harmony of brush and ink, CN begin etching his mind for this new form which is relevant yet timeless.

Classical Chinese Calligraphy has been stagnant since the 21st century. Even with the infusion of new ideas from other fields, this traditional art form has yet to ‘evolve’. There is a significant bridge in the state of mind of contemporary calligrapher and their historical peers. CN feels that human mind is progressive and his art should be at the forefront of change and adapting organically to changes. His art are not archaistic “alternative” creation.

Western art has experienced changes which has allowed it to blossom into a field of proactive organic forms appreciated by the world. However, the tenacious vitality of calligraphy seems hesitant, even today as ancient. CN contemplates: “How can we create a kind of brush and ink art form which can be appreciated by people who does not understand Chinese characters yet still touch their mind?” In this respect, CN feels Zao WouKi, Chu TehChun, Wu GuanZhong, Xu Bing and P.Soulage, F. Klein, Jackson Pollock ... are all very good example of artists who have fused elements from both East and West that cuts across cultures.

In fact, the Wu GuanZhong before his passing repeatedly merged calligraphy into his art through the infusion of colours to breathe new life to this traditional black and white form. Similarly, CN has begun experimenting with colours and various medium to create a variety of

abstract composition. It can be said that they hold the same strategic view of the direction of this art.

Determined to evolve this art, CN through active experimentation and persistence, he developed the first “gesture of his art in the form of as” (Strokescape), to the “ ” (Surrealligraphy), and the recent “ ” (Pop Calligraphy). CN said: “I developed the ink gesture like, in the light of my own aesthetic imagery of contemplation and see, is an instinctive need, and yet so unconscious of the nature ; thus no borders to my creation “

CN strokes are swift and powerful, in the “free state of the unconscious conscious” complete masterpiece, the creative process seems like a performance art scenes, climatic and stunning. In his own words, “I enjoy the unconscious

freedom while working with my art, morphing and taking shape into a life borne of my mind”.

From an aesthetic point of view, “surreal calligraphy” and “Pop Calligraphy” represents the pinnacle of his current creation; it can be regarded as a new “genre”, a contemporary art also homologous to the demands of the ancients. The colours draws inspiration from his life journey and harmony is key in blending the elements of Peking Opera, the Dunhuang murals, Tibetan Thangka, Henri Matisse, Antioni Gaudi...

Surrealligraphy is the enlightenment of CN’s surreal experience in meditation in the world beyond comprehension from the back to nature, then “Pop calligraphy” is the celebration of life in its her full blossom with unprecedented vigor and dynamism.

CN’s art is the very stucco of life; of energy. “I think the interpretation of noble sentiments of the ink line (strokes of brush)art, as if that is the boundless blue sky on the clouds, is that the vast grasslands of the high winds, it is that clash of primal sparks”.

His art are endowed with energy unseen anywhere, seemingly limitless and eternal universe every changing.

THE TRANSLATION OF 2010 THE 1ST NEXT SUPER STARl CN Liew

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CN LIEW and his Masterpiece “MERDEKA, MERDEKA, MERDEKA!”

Expression, “ ” (Pop Calligraphy) Acrylic on Metal 103cm × 77 cm

Rousing Awakening “ ” Colour and Ink on Rice Paper 98cm×45cm (2006)

Form of Bliss “Coplus Gold” (Surrealligraphy Sculpture) Fiber glass, gold, gilt, pigment, 1/1 (Single Edition) Sculpture: 630mm(I) × 380mm(W) × 610mm(H)Base: 465mm(I) × 465(W) × 60mm(H) Sculpture & Base: 670mm(H) (2008)

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Sempena menyambut Ulang tahun ke 33, Pertubuhan Kebudayaan Cina Malaysia menganjurkan Anugerah Kebudayaan (MCCS) ke 6 pada malam 31 Oktober 2010 di Wisma MCA, Jalan Ampang. Menteri Kesihatan Datuk Seri Liow Tiong Lai dijemput sebagai tetamu untuk membuka majlis ini serta menyampaikan Anugerah penghargaan kepada 6 pemenang Anugerah Kebudayaan.

MCCS telah menganugerahi 6 Anugerah penghargaan kepada para pemenang sebagai penghargaan atas prestasi mereka yang telah banyak mengorbankan diri kepada kebudayaan Cina di tanahair ini. Antara 6 pemenang anugerah tersebut adalah: kategori muzik: Dr. Toh Chee Cheong, kategori penyiaran: Puan Wong Kim Pok, kategori pendidikan: En. Tong Lee Poh, kategori Seni: Encik Cheah Yew Saik, kategori sastera: Encik Woon Swee Tin dan kategori tarian: Encik Koh Eng Kiam.

Anugerah MCCS tersebut direka oleh pengarca yang terkenal di China, Professor Dr. Wu Weishan yang berumur 48 tahun. Beliau adalah Pengerusi Akademi Arca China, Pengarah Institut Seni Rupa, dari China National Academy of Arts, dan juga Pengarah Academy Committee of Nanjing University.Beliau juga Pengarah kepada Jawatankuasa Pengarah (operasi) Seni Arca dalam Kota China dan Ahli Jawatankuasa Nasional Persidangan Konsultatif Politik Rakyat China. Inspirasi beliau berdasarkan motif budaya tradisional China dikomposisikan menjadi seorang dewi seperti statue/arca yang melambagkan kebijaksanaan dan amal. Tangan kiri arca ini mengangkat, melambangkan harapan dan masa depan. Pada masa yang sama menghargai mereka yang bertungkus-

Eksplorasi jelaga sebagai media menggantikan arang telah sinonim dengan Bakir Baharom atau lebih dikenali sebagai Kat. Pelukis muda kelahiran Kedah, bekas graduan seni daripada UiTM, Shah Alam ini cuba mencari bahan pengganti kepada media konvensional sebagai permulaan.

Bakir, bermula dengan gurisan plat, mula menghasilkan karya cetakan gurisan sejak di UiTM, pernah memenangi beberapa pertandingan seni visual, antaranya Penang Art Festival 2003, 2004 dan Grand Prize Winner Nokia Upstart 2005.

Pada 2005, Bakir mula menyampaikan kaedah cetakan dalam bentuk stencil asap, eksperimen yang di lakukan menggunakan asap rokok sebagai lambang pemberontakan dalam diri untuk menamatkan dunia perokoknya. Imej jantung dan stencil asap di kolaj di atas kanvas menjadi sesuatu karya yang jelas kuat memotivasikan dirinya.

Pada 2006, Bakir menghasilkan instalasi ”Kepompong”nya yang memancar keterangan malam. Bergayutan di dahan–dahan pokok di taman kecil tepi Gudang (nama sebuah studio artis milik pelukis Hamir Soib, di Damansara) ketika dijemput menjadi artis residensi di situ. Bakir, kini meneruskan kerja-kerja berkaitan dengan kesenian, menghasilkan kerja backdrop berkumpulan, mural, menjadi pembantu teknikal kepada beberapa artis terkenal, pensyarah separuh masa di Aswara selain menjadi artis sepenuh masa.

Dengan sedikit kegilaan dan keghairahan dalam mengeksplorasi jelaga yang diperolehi daripada pelbagai jenis lilin atau pelita minyak tanah dan menghasilkan arang sendiri daripada pembakaran tayar getah kereta. Kini, Bakir telah menjaya menggawal sifat rawak jelaga yang sukar untuk dikendalikan. Secara

teknikalnya, Bakir telah mencuba pelbagai permukaan untuk melihat keberkesanan jelaga sebagai media.

Pada 2009, Bakir menjadi artis residensi IMCAS (Iskandar Malaysia Contemporary Art Show) dan memenangi MEA Awards (Malaysian Emerging Artist). Kepenggunaan jelaga ini masih diteruskan. Kali ini Bakir, lebih memfokuskan imej sebagai bentukan daripada olahan jelaganya. Bakir cuba mempotretkan dirinya di dalam kerawakan teknik jelaga seolah-olah segompolan awan hitam yang berwajah manusia sedang bergerak lembut untuk keluar daripada permukaan kanvas putih.

Pada 2010, Bakir tampil dengan solo ‘Monolog’ di Galeri Chandan, Bukit Damansara yang telah berlangsung dari 22 Nov – 6 Disember 2010.

‘Monolog’ merupakan kebimbangan Bakir tentang kehidupannya yang sering mempersoalkan tentang kekalutan, kebenaran dan kepastian.

lumus secara senyap dan memberi sumbangan terhadap penyebaran budaya cina di Malaysia selama ini. Permukaan arca yang berwarna emas merupakan aliran budaya cina terus mengalir ke masa hadapan.

Dalam kategori Seni, En. Cheah Yew Saik mengabdikan hidupnya untuk pendidikan Seni Rupa. Sebagai seorang seniman, beliau bukan sahaja sebagai seorang pendidik seni, beliau juga terlibat dalam Seni Catan, Seramik, Arca, Mural dan Seni cetak.

En. Cheah Yew Saik dilahir pada tahun 1939 di Kedah. Beliau belajar di Sekolah Menengah Han Jiang dan amat bertuah bakatnya dicungkil oleh cikgunya, iaitu Dato’ Chuah Thean Teng. Selepas tamat sekolah menengah, beliau meneruskan pelajaran seni formalnya di Nanyang Academy of Fine Art pada tahun 1961 dan melanjutkan pelajaran ke Stoke-on-Trent College of Art di British pada tahun 1965. Dengan keputusan yang cemerlang, Cheah Yew Saik mendapat ijazah dalam tempoh satu/dua tahun. Pada tahun 1966, Cheah Yew Saik kembali ke Malaysia dan mendirikan sekolah seni pertama di Malaysia, yang kemudiannya dipindahkan dari Pulau Pinang ke Kuala Lumpur. Semenjak Kuala Lumpur College of Art (KLCA) ditubuhkan pada tahun 1968, Encik Cheah Yew Saik adalah sebagai pengetua sekolah sehingga bersara pada tahun 2002. Pada

Tahun 1983, “Kuala Lumpur Academy of Fine Arts” dipilih oleh kodifikasi Jerman dan dianugerahi dalam “Senarai Dunia College Seni”, sebagai perakuan sumbangan atas pendidikan seni beliau dalam industri kreatif.

Selain daripada itu, beliau juga menubuhkan Persatuan Seni Lukis Cat Air Malaysia (Malaysian Watercolour Society) dan Alumni Institut Seni Nanyang (Nanyang Academy of Fine Arts Alumi Association) dalam tahun 80an dan menjadi Pengerusi kepada kedua-dua persatuan ini. Cheah Yew Saik dianugerahkan anugerah alumni pada tahun 1991.

Selama satu dekad, Cheah Yew Saik menjawat sebagai Penasihat Akademik dan Jawatankuasa Editorial ke Sekolah Persendirian Cina di mana ia mempromosikan pengajaran Seni Rupa dan siri teks mengajar. Beliau telah

dicalonkan di Ekspo Seni Antarabangsa 2009 (Art Expo Malaysia) untuk penghargaan khas.

Encik Cheah Yew Saik telah dianugerahkan Sijil (Certificate of Inclusion), International Biograohical Centre, Cambridge United Kingdom pada tahun 1981 sebagai pengakuan atas sumbangan dan prestasinya sebagai pengiat seni. Dia juga dianugerahkan oleh “Who’s Who” Malaysia, Chinese celebrity blog record, Who’s Who of Chinese Painting and Calligraphy.

Pencapai ini memenuhi hasrantya yang ingin mempromosikan pendidikan seni di tanah air.

Manakala Fresco Harmonika Ensemble telah membuat persembahan yang amat menarik kepada para hadirin. Selain daripada itu, Fresco Harmonika Ensemble juga telah mendapatkan sijil daripada MCCS kerana telah memenangi Juara Double Harmonika Dunia di Jerman pada tahun lepas.

MAJLIS PERTUBUHAN KEBUDAYAAN CINA MALAYSIA (MCCS) MENYAMBUT ULANGTAHUN KE-33 SERTA PENYAMPAIAN ANUGERAH KEBUDAYAAN KE-6 l Lim Ai Woei

MONOLOG BAKIR BAHAROMl Ben Jaafar

Siri KepompongMedia campuran 40cm x 40cm x192cm 2007

The Clouds I, II, III, IVJelaga atas bod 29 x 60 cm 2010

Berupa Rupa Jelaga dan akrilik atas kanvas 53 x 153 cm 2010

Lebai MaghribJelaga atas kanvas 153 x 153 cm 2010

Cheah Yew Saik menerima anugerah daripada (kiri ke-2 ke kanan) Menteri Kesihatan Dato’ Sri Liow Tiong Lai, Presiden Cabungan Pertubuhan Cina Malaysia Tan Sri Pheng Yin Huah dan Madam Tai Hsiao Hua Presiden Pertubuhan Kebudayaan Cina Malaysia.

Cheah Yew Saik Karangan III 1969 Cat Minyak 76 x 117 cmBSLN1971.030

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Sebukit Bintang : Stars On The Hill l Tan Hui Koon

Sebukit Bintang: (Stars On The Hill) Is dedicated to my former students who had endowed me a spectacular perspective that I essentially lacked in reality. Sebukit Bintang: (Stars on the hill) is to discover and encourage the young artists and designers to become an agent of change. SENIKINI welcomes every teachers, lecturers, parents and students to send in articles to pool the Stars and rock the hill.

Having spent two years and a half teaching and preaching art, I have to admit it’s quite a challenging process especially the commitment to the students. First of all I have to be versatile so that I won’t be judgmental to all sorts of characters so is to inculcate creativitiy and innovation, and adhere to the objective of art that fosters infinite possibilities.

James Elkins‘s “Why Art Cannot Be Taught”, states:

“Contemporary teachers adhere to this in that they do not try to foist a uniform standard on each student they advised. Instead they try to feel their way to an understanding of what each student is all about. Teachers acknowledge that everyone has different ideals, directions, talents, and potentials. That sense of individuality is quintessentially Romantic”. This statement has made me realize the potential of students I was amazed at the irony of the late exposure of art education among the youngster who desperately try to encapsulate and empower themselves by the mighty word of ‘art’ in a very short time. This is the purpose of Sebukit Bintang: (Stars On The Hill) to discover the fascinating stories that hidden in every corner of the urban landscape, far away from home town that inspired and aspired each one of us at the bottom from our he(art).

Sebukit Bintang/Stars On The Hill: NZ Phang Yow Kit and Diana Phang Lai Peng

by Tan Hui Koon

This article is especially for NZ Phang (Yow Kit) and Diana Phang Lai Peng with their beloved families who have generously shared with us about a mysterious and great mural painter who painted alongside a chosen group of painters to complete the longest prison outer wall mural in the world.

NZ Phang (Yow Kit), my former student came to me at one day and surprised me with the story of his uncle, the painter of the famous Pudu Jail mural. I was astonished because of I had long admired the hand painted longest mural in the world and really believed in art as therapy as well as is art for spiritual healing.

In front of me, NZ who looks more convincing in his social and practical personality rather than he is coming from an artisan family. Unfortunately NZ only know a little about his uncle’s legacy and luckily his family kindly faxed me the only reference-the newspaper article.

No one would believe that Pang Sun Qiang is one of the painter of the Pudu Jail’s wall, mural painting at Country Heights Kajang and several urban residences. Although these commissions paid him well, he still suffers from poverty. And this is so, he admits ,because of his drug addiction.

You will not find Phang Sun Qiang’s name in the artist’s directories. He wasn’t trained, never enters into any competition nor related with any art association; but his paintings are collected and hung in the VIP’s room as decoration.

Phang (Phang Sun Qiang) is talented in realist painting. With his miraculous skillful technique, he could turn the zinc wall to become an amazing artwork and no wonder some important figures are his collectors.

At first sight, I could not believe he was the guy who squats by the stinky drain meticulously transforming the twenty feet long zinc wall into a landscape painting. When I walked closer to him, I was stunned when I saw the tools that he used was not any familiar painting materials but just his fingers and a lousy house painting brush that you would think twice before reaching for it.

“It’s like that lah! As long as you have interest, nothing is impossible.” He said in his husky voice along with his peculiar expression, but nevertheless he is a friendly person to talk to. He told me almost everything including sweet andbad memories. He charged minimum two hundred ringgit for a painting, but for the mural in the Country Heights Kajang he earned ten thousand ringgit. A man called Dato’ Mark paid him seven thousand ringgit just to paint a mural in his house. At the same time he also earned fifty thousand on all his commission artworks from the rich merchants, high rank officers and millionaires.”

After a few hours into the conversation with him, he shared with me more about his personal matters. “It’s

useless to earn much; I had wasted all the money on drugs. I couldn’t go back home to meet my wife and children, it’s shameful and I feel guilty too. I blame the drugs!”

Apparently as much as he despises the drugs , he craves the drugs the most.

Phang spent his youth in jail. He was being ruthless and involved in all sorts of crimes from stealing to bank robbery. Today, he is 51 , surviving on his own paintings. His mood swings drastically, he can finish a painting without a break when his mood is in tune; or vice versa. No one can persuade him to pick up the brush.

Phang’s four season paintings are neither from his distinctive imagination nor his impression from other imageries that he saw from other places; indeed he never experiences any season physically besides the tropical weather in our country. “I don’t know what genius is, but I think interest is the main key. I still remembered my interest was nurtured after watching my dad demonstrated to me how to draw a hen when I was a boy”.

When Phang finished his standard five in Chinese school, his father wanted to transfer him to study in an English school. At that time he was over aged to register to the English school but he still succeeded to enroll into form one by registering through his younger brother’s birth certificate ,under the name ‘Sah Tee’.

Phang was afraid that he had disappointed his father’s high expectation, and found a job instead of finishing high school due to lack of interest in study. “Teacher teaches me to read, but I teach teacher to hunt wild boars”. (Pun phrase from:

)

After quitting school, he became a member of a triad because he thought this was the easiest way to make big money. When he realized the trut ,he became disappointed and he drowned himself in drugs. Since that he never found his turning point to come back to normal life. “It’s too late, there’s no return”.

He only started to paint when he was imprisoned and managed to hone his skill. He produced a few hundred paintings so the warder may sell them. The warder paid him sixty ringgit per painting only. He knew his artworks were worth more than that amount because of there was once an Australian merchant who acted as an art dealer who came to Malaysia to buy his artworks and sold his artworks in Australia.

This Australia benefactor even went through a middle man to approach him again and wished to offer him to travel to the world, in return Phang must paint each country’s sceneries for him.

“Unfortunately I miss this glorious opportunity because off I was sent to Pulau Jerejak, Pulau Pinang just after being bailed from jail.” His voice resonant…

Second uncle whom I never touch but only through the verbal narrative from my dad: Among the brothers and sisters, he is the brightest. He not only inherit tidy

Five Fingers Painted The Famous Walls by Li You ( )

New Life Post 24.2.1993 Wednesday

Note: In this translated article, the painter is named Pang Sun Qiang (directly translated from mandarin name) and named Pha Tee in the Star, titled article: Deriving Sense of Freedom from Art dated 21 April 1994, interviewed by Helen Ang, Photographer: Jamah Nasri

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and beautiful handwriting but also talented in drawing and painting.

For me, he is just a smart guy who had mistaken the wrong path in his life. As part of this family member, I felt sorry to him and wondering why he used drug. Isn’t for life or….?

Through my dad’s words of mouth, just I knew about my second uncle is the chic and tongue Pudu Jail mural painter. I have no offensive to him as a prisoner yet I’m taking the pride of the mural. To me, every people have a chance to choose either to be or not to be a drug user, it shows the human truly instinctive nature. But not to this mural, it is not just a matter of desire but must compliment with a strong willpower and great talent; plus he painted with only his fingers and rags.

My dad used to live together with my second uncle and witnessed him painted on the wall in his room with his own fingers. At that time my dad still naïvely to ask him: “What are you doing?” and the result was the wall ended up with full of my second uncle’s finger print.

The first time and also is the last time I met him, he doesn’t looks good. He has to lose one leg and has a swollen face due to heath problem. I think I probably only four to five year old and I still remembered my mom brought him food. It is a strange feeling, although he wore like a beggar but intuitively told me that he is my relative.

Every time I passed by the mural, I will announce to my accompanies the facts of my uncle is the painter and the unique way how he painted the wall. The feed back always is: “aren’t the wall is painted by the prisoners?” and every time I will affirm to them: “Yes! He was”.

Before the demolition, the mural is a history; so do as after the demolition but also become a legend, because of the wall wasn’t there anymore.

Graffiti Time passes and it become really painful because of there is no cares and restoration vice versa it was being abused all along the time. Since 1998 Commonwealth Game, City Hall had painted the divider of the wall into white; numerous of white frames along the wall had ruined the originality and spoiled the visual aesthetic, even the anonymous did the graffiti on it in recently.

Note (sources from Facebook): This draft table provided thousand of possibilities to NZ’s college mates who are struggling to buy IKEA’s study table. NZ’s dad modified a draft-ing table to make sure he always in the right body position while he is doing all his best assignment. All we need is just an old whiteboard x1, stool x 1, and old desk x1 along with lots of cute magnet bars to hold the

drawing paper.

K: You mentioned that you are saddened by what the Pudu Jail have become now, do you think of tak-ing any action or solution to prevent and save it from the demolition?

NZ: As I said if we decided to keep it, restoration is the priority because this is a heritage. But how, I really don’t know and I have no idea who should take care of it. I definitely won’t stand out to do demonstration although it is painful for us (me and my family mem-bers) to bear the demolition on Pudu Jail because we get to know and remember my second uncle through this wall. I do aware that nights before demolition (Pudu Jail) crowds of people who hold a sentimental value to it have gathered; this old land mark really meant something to all of us and told us different stories.

Note: photographed and note by NZ: Pudu Jail the wall,i found my

memory on it

K: Perhaps we should have less shopping malls; revisit the value of a place beyond the leisure and enter-tainment thrusts in urban planning and development. Don’t you think it is just as simple as to tell your story through a design? Or documenting the wall in nice photography?

NZ: When I was child, my dad never said a word about preserving or documenting the wall, sometimes he drove us pass the mural quietly and started to tell us the story about my uncle. I think this is the way my family kept these memories and feeling in deep. This is new to me; I will keep your advice and think about it.

Photographer, Tan Chee Hon had started his docu-mentary project of Pudu Jail wall painting before it was demolished by developed from UDA early this year. The series was taken from year 2000 to 2010. We appreciate his sharing from his portfolio entitled “In Memories Of Pudu Jail Painting “.

Title: #10,2010

K: Thanks for that thought, I am symphatetic to your plight. From my point of view instead of waiting or pointing fingers to others, I think you can start some initiative and play a certain role in this loss. To a certain degree you can channel the pain and regret, all these experiences and apply it in your career as a designer?

NZ: Something that I never thought about it. Can you be more specific?

K: Let’s say heritage; in everyday we cannot avoid losing what we inherited from tangible to intangible heritage. For an example tangible as a building and intangible as our lifestyle or the air we inhale now. The wall is a heritage for you from your uncle; there must be a certain value on the wall that normal people like me never can imagine.

As a designer and you being through the pain of loss, would you be more sensitive to the surrounding that maybe significant to others, so that you will make a plan of design that will avoid and reduce the pain of loss, even a design that may be carrying the value from the past to the future?

NZ: I would like to move on my life and prefer to choose to not looking back too much. Probably I can keep this in my mind and let it evolve inside me because it’s true that there’s certain value that we should carry on.

After all, I’m very thankful to NZ’s effort to approach Diana Phang Lai Peng, daughter of Pha Tee. Diana Phang who prefers to maintain a low profile generously posted on facebook the response to this informal interview.

Photo by NZ

If we decided to keep it, restoration is the priority because of this is a heritage.

AN INTERVIEW: K, NZ Phang: NZ(NZ currently is the president of student body organization)

K: I’m wondering and just assuming that your uncle must have inspired you a lot, did he influence your study?

NZ: No, nothing related to my uncle at all. Eventually I wanted to be a F1 racer but I didn’t get my family’s support. My dad did some product re-invention, they look cool and practical so that’s why I’m in industrial design.

�

PROGRAM MERAKYATKAN SENI (PMS), REMBAU

Pada 5 hingga 7 November 2010, telah diadakan

program ‘Merakyatkan Seni’ di Rembau, Negeri

Sembilan. Di antara aktiviti yang dijalankan di sana ialah

Pameran Koleksi Airbrush BSLN, Demonstrasi Lukisan

Berus Angin, life scathes dan Lukisan Karikutur. Program

ini diadakan adalah untuk memberi kesedaran kepada

masyarakat mengenai seni dan juga membuka ruang

dan peluang kepada pelukis menjana pendapatan

masing-masing. Di antara artis yang terlibat ialah Abdul

Aziz Bin Lebai Alias (Karikutur), Zakir Zamir dan Fadli (Life

scathes) dan Mohd Norikhwan Bin Omar (Berus Angin).

PROGRAM PELANCARAN PAMERAN DAN PERTANDINGAN MEWARNA & MELUKIS ANJURAN KEMENTERIAN KESIHATAN MALAYSIA

16 Oktober 2010

Foyer Tingkat 1, Galeri Kafe & Galeri 2C

Seni lukis merupakan medium terbaik bagi menyebarkan sesuatu mesej serta memberi inspirasi

kepada masyarakat. Untuk mengubah persepsi masyarakat, ianya perlu bermula daripada

generasi muda. Bersempena Majlis Sambutan Minggu Kesedaran Pendermaan Organ dan

Tisu 2010, Pusat Sumber Transplan Nasional buat julung kalinya usaha sama dengan BSLN

untuk mengadakan pelancaran pameran dan pertandingan mewarna & melukis tentang

pendermaan organ dan transplan oleh pelajar-pelajar sekolah rendah, menengah dan

institut pengajian tinggi yang dihasilkan melalui satu pertandingan yang telah dianjurkan oleh

Persatuan Teo-Chew Selangor-KL di seluruh negara dan Universiti Sains Malaysia.

PELUKIS DI LOBI

Program ‘Pelukis Di Lobi’ telah dilancarkan oleh BSLN pada tahun 2009, bertujuan untuk menyediakan sebuah ruang

khas (lobi) bagi aktiviti berkarya kepada pelukis-pelukis. Ia juga bertujuan bagi menggalakkan pengunjung galeri

mendekati, mengenali pelukis dan menghayati seni secara langsung. Pelukis di lobi telah dipilih berdasarkan kepada

pengalaman panjang mereka berkecimpung dalam bidang seni, penguasaan teknik yang tinggi dan sifat ingin tahu

atau suka berkongsi pengetahuan seni dengan khalayak. Karya-karya yang dihasil dan dipamerkan adalah juga untuk

jualan. Berminat untuk menjadi pelukis program ‘Pelukis di Lobi’? Sila emel faizun@artgallery.gov.my untuk maklumat

lanjut.

PERASMIAN ‘ESPECTACULAR DE LUCHA LIBRE’

Pada 30 November 2010, telah berlangsung satu

perasmian Espectacular De Lucha Libre bertempat

di Ruang Legar Tingkat 1 BSLN. Majlis ini dirasmikan

oleh Jorge Alberto Lozoya, Duta Besar Mexico ke

Malaysia dengan ditemani oleh Dato’Mohd Yusof

Ahmad, Ketua Pengarah, Balai Seni Lukis Negara.

Pameran ini dapat melihatkan trajektori Mexico

yang menggabungkan paling banyak variasi dalam

tradisi hikayat cerita rakyat Mexico, termasuk baru-

baru ini yang muncul sebagai Gusti Gaya Bebas

Orang Mexico atau “Lucha Libre”, yang telah

menggabungkan hasil karya Lordes Grobet, artis

berbakat di mana seni fotografi mempunyai ruang

istimewanya yang tersendiri.

LUKISAN MURAL DINDING BALAI SENI LUKIS NEGARA

BSLN telah menjemput pelukis grafiti bagi

menjayakan lukisan mural dinding BSLN.

Pelukis yang terlibat secara langsung

adalah Bibi chun and The Group.

Lukisan dinding tersebut masih dalam

proses dan hampir 50% telah disiapkan.

Motif yang diketengahkan adalah

merangkumi flora dan fauna.

“HERITAGE SERIES, P.RAMLEE ON COIN”

Pada 11 November 2010 bertempat

di Ruang Legar Tingkat 1, BSLN pihak

Persatuan Karyawan Malaysia telah

mengadakan satu pelancaran bersempena

dengan “Heritage Series, P.Ramlee on

Coin”. Persatuan Karyawan Malaysia

dengan kerjasama KLMINT telah mengambil

insiatif untuk mengabdikan Tan Sri P.Ramlee

di atas satu syiling peringatan sebagai

simbol penghargaan kepada beliau. Tiga

jenis syiling peringatan diperkenalkan iaitu

dalam bentuk Pakej Pek Emas, Perak dan

Tembaga dengan harga jualan RM3500.00

yang turut disertai dengan sijil pembelian

dan nombor siri di dalam pakej yang sangat

menarik, manakala untuk pembelian secara

berasingan pula ialah dengan harga

RM250.00 bagi Perak dan RM50.00 bagi

jenis Tembaga. Untuk sebarang pertanyaan

lanjut untuk tempahan boleh menghubungi

secara terus talian 03-41313481(FATIN/AIDA)

ataupun 016-9079616(EN. SAIFUL).

PROGRAM LAMAN BUDAYA RAKYAT, DATARAN MERDEKA KL

Sabtu 9 Oktober 2010, bermula pada pukul 5.00

petang sehingga 10.30 malam bertempat di

Hadapan Restoran Warisan, Dataran Merdeka

Kuala Lumpur, telah berlangsung satu Program

Laman Budaya Rakyat. Program ini adalah

bertujuan untuk mempromosikan BSLN sebagai

sebuah institusi seni, memberikan pendedahan

dan menarik minat pengunjung mencintai seni

serta memberi ruang kepada penggiat seni

berkarya, memperkenalkan kesenian sebagai

satu gaya hidup serta ‘Merakyatkan Seni’ agar

masyarakat tempatan terutama sekali para

pelajar mahupun pelancong luar berpeluang

untuk mendekati kesenian Malaysia dan menjana

pendapatan artis.

BATIK TANG

Tan Kok Hwa better known as “Batik

Tang” and this is the 7th exhibition

entitled Batik Tang’s Batik Exhibition at

Gallery Cafe, NAG (23 November-23

Dicember).The exhibition launching

on 17 December 2010 (4.00 pm)

by Ambassador Dato’ Mohd Yusof

Ahmad Director-General, NAG. The

exhibition showcases the various

stages of his artistic development

throughout his four decades of

involvement with batik painting.

‘LUMINOSITY-THE LIGHT WITHIN..’

Is the latest solo exhibition by Pakistan

born painter Seema Nadeem. Known

for her starkly horizontal structures that

are her trademarks in her works, her

latest series showcase reflections of

her wonderful stay in Malaysia, which

she revealed to have had a profound

spiritual effect on her being. The

exhibition was a private event held

at attended by close friends and also

dignitaries.

PAMERAN ‘MEMBINA SEBUAH NEGARA BANGSA’ SEMPENA PERSIDANGAN UMNO 19 – 23 OKTOBER DI PUSAT DAGANGAN DUNIA PUTRA

Sempena dengan Persidangan UMNO pada tahun

ini, Balai Seni Lukis Negara telah dijemput untuk

mengadakan pameran bertema ‘Membina Sebuah

Negara Bangsa’ bagi turut sama menyampaikan mesej

Gagasan 1Malaysia melalui seni visual dan seterusnya

memeriahkan lagi sambutan sempena Persidangan

UMNO yang berlangsung di Pusat Dagangan dunia

Putra. Pameran Berus Angin Topi Keledar 1Malaysia dan

catan yang menggambarkan kepelbagaian budaya

penduduk di Malaysia telah dipamerkan di sepanjang

tempoh persidangan berlangsung bagi menyemai

dan menyemarakkan rasa kecintaan dan semangat

1Malaysia melalui seni visual.

CHENG HAW CHIEN

Pada 30 September 2010 yang lepas telah

berlangsung Perasmian Pameran Solo Dr Cheng

Haw Chien yang ke 136 di BSLN. Pameran ini

bermula dari 20 Ogos 2010 sehingga 31 Oktober

2010.

Perasmian ini telah dirasmikan oleh YB Senator

Heng Seai Kei, Timbalan Menteri Pembangunan

Wanita, Keluarga dan Masyarakat. Pameran ini

bertujuan untuk menghidupkan kembali dakwat

Cina yang bersubjekkan landskap, flora, fauna,

kaligrafi dan puisi.

Karya-karya beliau telah menjadi koleksi di serata

pelusuk Asia, Amerika, Australasia dan Eropah.

Orang ramai dijemput hadir untuk menyaksikan

pameran ini. Untuk maklumat lanjut sila hubungi

pegawai perhubungan awam BSLN di talian 03-

40254990 atau layari www.artgallery.gov.my.

�

BSLN SANA SINI

PENYAMPAIAN HADIAH BAKAT SENI KARTUN MERDEKA 2010

Pada 25 November 2010 yang lalu telah diadakan satu

penyampaian hadiah kepada para pemenang bagi

pertandingan Bakat Seni Kartun Merdeka 2010 yang telah

diadakan di Tingkat 1 BSLN. Kementerian Penerangan,

Komunikasi dan Kebudayaan(KPKK) menerusi BSLN dan Arkib

Negara Malaysia sebagai pelaksana telah menganjurkan

pertandingan ini iaitu sebuah program yang memperlihatkan

hasilan seni lukis kartun pelbagai variasi dan dialog yang

kreatif di dalam menyampaikan mesej yang bernas dan kritis.

PERTANDINGAN PAMERAN SEMPENA SAMBUTAN HARI INOVASI PERINGKAT KPKK, 2010

Pada 30 November dan 1 Disember 2010, telah

berlangsungnya Sambutan Hari Inovasi Peringkat Kementerian

Penerangan, Komunikasi dan Kebudayaan (KPKK) di

Perkarangan Auditorium, Kompleks Kraf, Jalan Conlay, Kuala

Lumpur. Antara aktiviti yang diadakan sempena sambutan

tersebut ialah Konvensyen Kumpulan Inovasi dan Kreatif

(KIK), Pertandingan Pameran Terbaik, Ceramah Perdana Hari

Inovasi, Pelancaran Logo Baru KPKK, Penyampaian Anugerah

Inovasi 2010, Persembahan Pemenang Inovasi Terbaik dan

Persembahan Pemenang KIK. BSLN merupakan salah sebuah

agensi di antara 19 agensi/jabatan di bawah KPKK yang

menyertai Pertandingan Pameran Terbaik. Upacara Perasmian,

Pelancaran dan Penyampaian Anugerah telah disempurnakan

oleh YB Datuk Sri Utama Dr Rais Yatim, Menteri KPKK.

RETREAT BSLN

Retreat Halatuju BSLN

12 hingga 15 Disember 2010

PNB Ilham Resort, Port Dickson

Bertujuan memakmurkan industri kreatif dan budaya visual

negara melalui persembahan dan komunikasi visual terbaik

dalam pameran dan aktiviti sokongan yang berdaya saing.

JANUARIAIAE: 20 Nov 2009 – 31 Jan 2010

Konservasi Masjid Tok Machap

Pameran En Bloc: 12 Dis – 22 Feb 2010

FEBRUARIArt on Necktie: 2 Feb - 19 Feb 2010

Pameran Seni Bangladesh: 19 Feb – 28 Feb 2010

Pameran 1 Malaysia bersama Rakyat Negeri Melaka 4 Feb– 8 Feb 2010

Pameran Laman Seni Putrajaya ke – 25 bersempena Karnival keceriaan Putrajaya 20 Feb-21 Feb 2010

Malaysia Open 10 Feb-31 Mac 2010

MACUnderwater Sceneries: 6 Mac - 6 April 2010

Japanese Design: 8 Mac - 11 April 2010

ABC: 30 Mac - 30 Julai 2010

Program Pertandingan Mewarna Seni di Sini ‘ 1 Malaysia’ di Gua Musang Kelantan pada 8 Mac– 12 Mac 2010

Pameran Laman Seni Putrajaya yang ke - 26 27 Mac -28 Mac 2010

Pameran Catan Relief Kanak-kanak di Galeri 2C ( Pengkarya Muda) pada March – Julai 2010

Pameran Dato’ Latt @ UTM Skudai : 22 Mac - 29 Mac 2010

APRILKata Luhur A. Samad Said : 9 April - 30 Mei 2010

Pameran Abundant Australia : 19 April – 31 Mei 2010

Bicara Seni Sempena A. Samad Said sesi bercerita “ Di Simpang Jalan dan “Kata Luhur pada 21April & 28 April 2010

Artist at Lobby : 15 April - 31 Mei 2010

MEIKL Design Week: 1 Mei - 16 Mei 2010

Program Pertandingan Mewarna Batik oleh Kanak-kanak Tadika sempena minggu perpaduan Negeri Kelantan di Sekolah Rendah

Ismail Petra pada 29 Mei 2010

Pertandingan Merwarna KUNTUM anjuran Majalah KUNTUM & McDonalds dengan kerjasama BSLN di ruang Lobi Aras 1 dan Anjung

Belakang pada 15 Mei 2010

WIEF@KLCC Convention Centre: 17 Mei - 20 Mei 2010

Shanghai World Ekspo 1 Mei - 31 Oktober 2010

JUNPameran Art Friend: 26 Jun – 20 Julai 2010

Bengkel Arca 1 Malaysia sempena Cuti Sekolah di BSLN 8 Jun-10 Jun 2010

Pameran Karnival Cuti Sekolah Di Pasar Seni Jun 2010

Pameran Innofest 2010: 19 Jun - 20 Jun 2010

JULAIPameran Art Triangle : 7 Julai – 7 Ogos 2010

MJVAX : 20 Julai – 6 Ogos 2010

Majlis Makan Malam Bersama Ketua Pengarah : 23 Julai 2010

Bicara Seni “Art Collecting” Anjuran bersama Malaysian Art Friends di Galeri 2A BSLN 3 Julai 2010

Pertandingan Mewarna Kanak-kanak anjuran Malaysia International Dive Expo 2010 (MIDE 2010) di PWTC pada 30 Julai - 10 Ogos 2010

Pameran Seni di Putrajaya sempena“Floria 2010” : 9 Julai - 18 Julai 2010

Pameran Merakyatkan Seni dan Budaya (PMS) kawasan Lembah Pantai, KL pada 27 Julai 2010.

Bicara Seni “30 ARTFRIENDS” di Auditorium BSLN Pada 10 Julai 2010

Bicara Seni “ARTRIANGLE” di Auditorium BSLN Pada 10 , 17, dan 24 Julai 2010

Bicara Seni bersama Dr. Sulaiman Esa sempena pameran Antara Bahan Campuran (ABC) di Auditorium BSLN pada 17 Julai 2010

Pertandingan Bakat Seni Kartun Merdeka: 15 Julai - 31 Ogos 2010

OGOSPameran KepadaMU Kekasih (Yang Maha Esa) : 10 Ogos – 30 Sept 2010

Bengkel Seni Kreatif dan Seni Tampak di Krash Pad: 2 Ogos 2010

Bicara Seni bersama Haslin Ismail sempena Pameran Antara bahan Campuran (ABC) di Auditorium BSLN pada 7 Ogos 2010

Pameran “NEGARAKU” Zulkifli Yusoff di Galeri 2C: 26 Julai - 17 Oktober 2010

Koleksi Tetap Antara Bahan Campuran (ABC) Bhg.2 : 20 Ogos - 10 Januari 2011

Malam Dirgahayu Tuanku: 4 Ogos 2010

SEPTEMBERPra Perasmian - Art Expo Malaysia 2010: 25 September 2010

Pameran Solo Cheng Haw Chen: Alam Seni: 28 September - 24 Oktober 2010

Dengan Cara Kita: 12 September - 24 Oktober 2010

Back Then’ These Day: 23 Sept - 23 Okt 2010

OKTOBER4th M’sia Art Expo @ Matrade : 28 Oktober- 1 Nov 2010

Penerimaan & Penghakiman Pertandingan Bakat Muda Sezaman 2010: 20 Oktober - 1 Nov 2010

NOVEMBERBakat Muda Sezaman : 20 Nov - 20 Feb 2011

Espectacular Lucha Libre : 15 Nov - 15 Dec 2010

X-Box Performance Art by Amir Zainorin : 22 - 25 November 2010

DISEMBERPeti Seni bersama Rantai.Art dan BB Chun : 1 Okt - 31 Dis 2010

Batik Tang’s : 17 Nov - 31 Dis 2010

Pameran Penjelmaan 1Malaysia di Parlimen : 29 Nov - 12 Dis 2010

Pameran Expectacular Lucha Libre : 30 Nov - 31 Dis 2010

Pameran Sempena Hari Inovasi : 30 Nov - 1 Dis 2010

Program Kemasyarakatan 1Malaysia Kampung Air (Pertandingan Kanak-kanak): 5 Dis 2010

Art Talk Lucha Libre : 9 Disember 2010

Program Seni Di Sini di Karnival Cuti Sekolah Central Market : 10 - 12 Dis 2010

Pelancaran Kelab Seni Di Sini sempena Pelancaran Ruang Interaktif Galeri 2C : 31 Dis 2010

Bengkel Cuti Sekolah : 18 & 19 Dis 2010

Merry Christmas dan Tahun Baru 2011: 19 Dis - Tahun Baru 2011

Laman Seni Putrajaya ke 31 Sambutan Tahun Baru : 31 Dis 2010

Year End Sale : 15 - 24 Dis 2010

Keterangan lanjut hubungi : usnita@artgallery.gov.my

BSLN KALENDER 2010

BSLN Publication

ARTTRIANGLE: SENI UNTUK SENI KEPADA MASYARAKAT KERANA SENI

Penghasilan katalog ini adalah ilham daripada anggota kumpulan MATAHATI, melalui pameran ini ia mengambungkan para seniman dari pelbagai aliran dan latar belakang dari tiga buah negara iaitu Indonesia, Filipina dan Malaysia yang bermatlamat satu; menabung. Matlamat menabung ini adalah supaya dapat membantu meringankan penderitaan rakan seniman yang memerlukan bantuan kewangan dan juga sebagai sumber galakan pertumbuhan aktiviti-aktiviti seni

ISBN 978-967-5923-01-2112 m/s

RM 40

KEPADAMU KEKASIH

Katalog KepadaMu Kekasih diilhamkan khas bersempena dengan Kedatangan Ramadhan dan sebagai tanda kesyukuran kepada Allah Yang Maha Esa. Penerapan nilai-nilai murni seumpama ini diharap dapat menemukan para pelukis dan khalayak dalam konteks wacana keislaman yang boleh ditarbiahkan dalam pelbagai arus dan bentuk penghayatan samaada ilmiah mahupun kesenian.

ISBN 978-983-3497-50-8 84 m/s

RM 20

BMS2010

Sebuah katalog pameran yang memfokuskan kepada pelukis muda yang bertanding bagi menghasilkan karya yang bermutu tinggi dan mempunyai jati diri sebagai seorang pelukis. Pelukis muda yang berjaya dalam pertandingan ini diberikan anugerah dan insentif galakan. Pertandingan ini mula diperkenalkan pada tahun 1974 dan dibuka kepada warganegara Malaysia yang berusia di bawah 35 tahun.

CHENG HAW CHIEN ALAM SENI / THE ART WOLD

Penerbitan buku pameran ini bertujuan untuk menghidupkan kembali tradisi lukisan berus cina yang lahir bertahun lamanya. Melalui penghasilan terbitan ini sebanyak 76 karya digarapkan sebagai tatapan dan juga pengkongsian ilmu untuk semua masyarakat Malaysia. Kebanyakkan karya-karya yang dihasilkan oleh Cheng Haw Chien adalah di pelusuk Asia, Amerika, Australasia dan Eropah.

ISBN 9789833497492328 m/s

RM100

INVENTORI HIMPUNAN TETAP WARISAN SENI TAMPAK NEGARA 2004-2009

1065 karya terbaru Himpunan Tetap Balai Seni Lukis Negara yang telah diperolehi dari tahun 2004 sehingga 2009.

300 Muka surat1065 Gambar Karya berwarna ISBN: -

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

DEADLINE 31 JAN 2010

AKAN

DATANG ! AKAN

DATANG !

WHAT’S ON

10:00AM - 10:00PM 15 Nov 2010 - 05 Dec 2010 | Filed under The Arts | Venue: Kuala Lumpur Performing Arts CentreAddress: Sentul Park, Jalan Strachan, 51100 Kuala Lumpur | Train: Sentul (KTM)Price: N/A | Contact: 03-4047 9000E-mail: N/A | Website: www.shaliniganendra.com CAPTURING TWILIGHT pays tribute to and explores the ancient dance forms of Makyong and Chinese Opera. Karuppiah’s images capture the fluidity of the dances and drama, in various literal and semi-abstract guises. Capturing Twilight shares with us its characters, intensity and also soft rhythms and harmonies of these declining arts. The exhibition also offers a personal tribute to Master Elizabeth Choy Yim Heong and the late Mek Sapiah as well as members of these performing arts - for their dedication and strength in keeping the history and legacy alive.

AUTOMATONSMuhd Sarip: AutomatonsVWFA (Valentine Willie Find Art) 10 Dec – 23 Dec 2010The cross fire amidst canvases depicting combative toy robots from popular TV cartoons in Muhd Sarip’s Automatons depict a battle arena that is treacherously playful. As they don war armature and strike a ready battle pose, these toy figures, in spite of their association with playtime, take on larger than life roles in playing out a veiled critique on the real world challenges faced by the artist.

Beautiful People14/11/2010 6:00 PM - 31/12/2010 6:00 PM Venue: Core Design Gallery Address: No. 87, Jalan SS 15/2A,, Subang Jaya, Malaysia, 47500 Whenever a person is described as beautiful, the first that strikes the mind would usually be the physical attributes of the person. The very image of an attractive proportionate figure, chiseled features clothed with impeccable styles by high profile fashion designers inspired by the likes of Hollywood & Bollywood uprising stars come to mind. However, there would be some others who define and perceive “beauty” or “beautiful people” as people who possess admirable skin-deep qualities. As the saying goes, “beauty is in the eyes of the beholder”, one will observe & analyze how another�s perception or definition of “beautiful people” shown through artworks by a group of artists this coming November.

Inception, Continuity & Beyond: An Art Exhibition of the Oriental Masters14/11/2010 1:00 AM - 31/12/2010 1:00 AM Venue: Oriental Art & Cultural Center Address: No. 10 & 12, 2nd & 3rd Floor, Pusat Elken, Jalan 1/137C, Batu 5, Jalan Kelang Lama, Kuala Lumpur, Malaysia, 58000 Thus, this exhibition is also loosely inspired by the diversity of artistic medium, expression, techniques and methods many of our pioneers have perfected throughout the years. These media included the more common tradition of oil, acrylic and watercolour to chinese ink, batik, printmaking, sculpture, and ceramic.

20/11/2010 10:00 AM - 11/12/2010 6:00 PM Venue: Pelita Hati Gallery of Art Address: 1st Floor, No 8, Jalan Abdullah,Off Jalan Bangsar, Kuala Lumpur, Malaysia, 59000 “KAWAN”With participating artists:ANASSUWANDI AHMAD, AZMAN HILMI, HAMDAN SHAARANI,IZADDIN MATRAHAH, JOHAN MARJONID, MOHD JAMIL MAT ISA, NASIR CHE DIN, ZAKARIA SHARIF & ZAINON ABDULLAH.As G. Randoff put it – True good Friends are hard to find, difficult to leave and impossible to Forget! True friends need not meet up often to make sure that the friendship remains constant. However friends do need to meet up once in awhile such as in the case here-to hold an art exhibition together. Friends similar interests, mutual respect and strong attachment with each other-those are what these friends share between each other. Friends get together to have this exhibition with art as their most common interest. Hopefully what interests them most will become a priceless treasure later in their lives.A GROUP ART EXHIBITION

01/11/2010 12:00 PM - 31/12/2010 12:00 PM Venue: Muzium & Galeri Tuanku Fauziah Address: Universti Sains Malaysia, 11800 USM, Penang, Malaysia Making archive – archiving the makingStudents from the Masters of Art (Visual Art & Design 2010/11) programme at the USM School of The Arts are currently putting up an exhibition as part of the tradition of studio-based postgraduate research. The M.A. – The ‘Making’ Archive is the theme for this process-oriented exhibition, featuring a number of student works that are in progress that would be developed further into their graduation show next year. The contributors are Philips Loh Kar Mun, Azmi Mansor, Nuzul Haqimi Muhammad, Maizul Affendy bin Baharudin, Leila Kakaabdollahshirazi and Liew Ting Chuang @ TC Liew. They are young practitioners who come from very diverse backgrounds that include journalism, automobile design, building sciences, illustration, advertising and fine art. This exhibition will be opened for public viewing from 1 November to 31 December 2010. Invitations are extended to art learning centres, schools, art academies and colleges, seeking for meaningful and constructive exchanges among art students. It is hoped that by documenting the unique artistic processes of each individual and sharing them with the audience they may contribute to the enrichment of art pedagogy in technical, conceptual, contextual and philosophical sense.

We welcome invitation by group (10 – 20 persons) for 1-day program in USM School of The Arts & Muzium & Galeri Tuanku Fauziah USM. We conducts workshop for students and parents to get to know more about colour, visual language and casual art appreciation with reasonable fee. (fund raising for USM MA studio 2010/11) For further information please contact studio representative Mr. TC Liew on 0124008023 for appointment. We welcome art learning centres, schools, art academies and colleges.

PASSAGE TO THE FUTURE: Art from a New Generation in Japan

The Japan Foundation, Kuala Lumpur (JFKL) will present an exhibition titled “Passage to the Future: Art from a New Generation in Japan” from 8 – 24 December 2010 at Galeri Shah Alam, Shah Alam and from 7 – 23 January 2011 at Bangunan No. 57, Macalister Road, Penang. “Passage to the Future: Art from a New Generation in Japan” focuses on art produced in Japan at the beginning of the 21st century. It showcases 42 works – paintings, sculptures, installations, photographs, and videos – of eleven young Japanese artists who are presently attracting a great deal of attention, namely Atsushi Fukui, Satoshi Hirose, Maywa Denki, Tomoyusu Murata, Tetsuya Nakamura, Masafumi Sanai, Yoshihiro Suda, Tabaimo, and Miyuki Yokomizo. “Passage to the Future: Art from a New Generation in Japan” will allow viewers to experience the freshness and vitality of current Japanese art and at the same time provides an opportunity for renewed thinking and debate about the fundamental appeal and meaning of art.This exhibition is organized by The Japan Foundation, The Embassy of Japan, The Consulate – General of Japan in Penang, Galeri Shah Alam, Penang State Museum Board, and Muzium & Galeri Tuanku Fauziah at Universiti Sains Malaysia.

GALERI CHANDANInvites you and your partner to the opening reception of a solo art exhibition by Abu Bakar Idris Taman Syifa’ Healing GardenSaturday, 18th December 2010, 8.00pmAt Galeri Chandan 15, Jlan GelenggangBukit Damansara 50490 Kula LumpurExhibition opens to public from 11th December 2010 until 13th January 2011

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Yin Yen Sun, ‘How did it go’ 2010, Emboss Dye Print and Plaster Cast, 427 x 320 z 250cm

“I would like to express the phenomenon and process of our living environment that is gradually changing through this artwork.

I use soft fabrics to hint on the powerless traditional buildings.Silkscreen printings acts as a video that narrates paragraphs of stories, just like a seal that cannot obliterate, it records and witness our history.

The ordinary feeling from fabrics gives us a familiar and comfortable feeling, and this have also contrast with the repetition of modern civilization, regular pattern and rationality of human. Therefore, the creation of clay modeling expresses the modern machine-like lifestyle.”

YIN YEN SUN

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