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Malaysian art now

#02
>TENT- ALIZING DESIGN
Kuala Lumpur Design
Week 2009
>MENGENALI SENI
KHAIRUL AZMIR SHOIB
>CANDY COATED:
CUTE CONFUSION
>MALAYSIAN ART IN DUBAI

>BEING RICH IN PENANG
Sharon Chin@Malihom
C O N T E N T S
FEATURE
04 Tent-Alizing Design_Kuala Lumpur Design Week 2009
08 Candy Coated:Cute Confusion
COVER ARTIST
06 Mengenali Seni Khairul Azmir Shoib(Meme)
10 PASSING
Peter Harris
EXHIBITION HIGHLIGHTS
11 Bauhaus Architecture
14 The Art of Visualizing Salina
14 ILHAM Inspirasi Kontemporari 2009

12 SHARING
The Village Next Door: Community Art + Life
13 ARTIST IN RESIDENCE
Being Rich in Penang
BSLN Programmes and Activities
15 Malaysia Art Galleries(MAG) Unveils Art Services
Showcase in Malaysian Service Exhibition, Dubai.
18 BSLN PUBLICATION
19 WHATS ON
Far from remaining in a state of siege due to the economic crisis, the visual
art scene in Malaysia is vibrant and continually re-inventing modes for
mass visual reception.
The Glosoli is Khairul Azmir Shoibs (Meme) propitious and charming
contribution for the #02 cover which attempts to collate in this
issue, some thoughts on the endearing, the curious and the tradable.
Hashimah elaborates on the magic of Memes lines as Wening shares her
research on the theory of the cute. Simon shares his insights on community
art, while Sharon basks in the richness of Penang. Both of them manage
the Arteri art blog.

KL Design Week which lasted for just a few days, had courageously taken
up the challenge of privileging art and design amidst the tightening of
purses. KLDW 2009 as elaborated by Usnita and Awin in this issue, had
defnitely gave focus to the tantalizing tastes of good local and
foreign design.
Art as products of trade is elaborated on by Faridah who reports on our
Malaysian art GalleriesMATRADE maiden sojourn to Dubai, United Arab
Emirates (UAE). The opportunity to witness the two world class events
of the UAE being held in the same weekArt Dubai and The Global Art
Forum certainly taught us a lesson in the making of a cultural hub. And
on a quieter note, my art teacher and artist Yeoh Jin Leng remembers Peter
Harris, the founder of the Wednesday Art Group who had departed on
the 14th of March. The Malaysian art fraternity will miss him, nonetheless
vivit post funera virtus or hancur badan dikandung tanah, budi yang baik
dikenang jua..
Dr. Mohamed Najib Ahmad Dawa
Editor-In-Chief
Editorinc.
can be accessed at www.artgallery.gov.my/senikini and
senikinibsln.blogspot.com
Any feedback and comments please email to us at:
wening@artgallery.gov.my
The publisher, National Art Gallery Malaysia,
hold copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserverd.
Copyright2009 SENIKINI Malaysian Art Now
Printed in Malaysia.
PUBLISHER
Balai Seni Lukis Negara
National Art Gallery Malaysia
Ministry of Information, Communication and Culture Malaysia
No 2, Jalan Temerloh
Off Jalan Tun Razak
53200 Kuala Lumpur
MALAYSIA
P : 603 4026 7000
F : 603 4025 4987
w w w . a r t g a l l e r y . g o v . my
l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING
EDITOR Chng Huck Theng l EDITOR Zanita Anuar l DEPUTY EDITOR
l Wening Cheah l EDITORIAL TEAM Hashimah Nyok dan Tan Sei Hon
l CONTRIBUTORS / WRITERS Zanita Anuar, Hashimah Nyok, Faridah
Hanim, Wening Cheah, Usnita Nasir, Irvin Hanni, Simon Soon, Sharon
Chin and Yeoh Jin Leng l DESIGN Nuzaihan Mustapa l PHOTOGRAPHY
Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l
CoverArtist:KHAIRUL AZMIR
SHOIB (MEME)
GLOSOLI- the idea of this character
design come out after I listen to a song
entitled Glosoli from Sigur Ros.

Glosoli = Glowing Soul - represent a new
hope, mark, style or symbol of an artist
(existence in the art scene).
Digital photography by Zaihan
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6 April - 31 May 2009
Galeri Shah Alam
Persiaran Tasik, Shah Alam, MALAYSIA
Two Japanese acoustic street artists from Japan is performing in one of the Secret Tent @ Secret Tent Bazaar at Capital Square Kuala Lumpur.
FEATURES
A
soneofthefastestgrowingcitiesinAsia,Kuala
Lumpurhasdesignpotentialatalevelcomparable
tootherinnovativecitiesaroundtheworld.Weare
progressivelyembracingdesignnotonlyasawayto
developourownidentityandnationalpridebutalsoas
tomakeourmarkintheinternationalarena.
KualaLumpurDesignWeek(KLDW2009)maynotbe
thefrstDesignFestivaltobeheldbutneverthelessis
thefrstattemptinMalaysia.
KLDW2009isanimportantplatformfollowingthe
successoftheonesheldinLondon(2006),Bangkok
(2007),Singapore(2007)andVienna(2008).This
exerciseisseenbythedesigncommunityasan
importantplatformforartistsanddesignerstoshare
andexchangethoughtsandprocessesregardingtheir
latesttantalizingdesigns.
Theprojectaimedtocentralise,encourage,maximize
andupgradethequalityofdesignthuscreatinga
pathwayintoaninternationalmarketandconnections
inthedesignindustry.Apartfromthehugepotential
ofcommercialrewards,thisexerciseassistedin
shapingthenewcultureofgooddesignhabitsin
Malaysia,andproflingourexistinghome-growntalents
totheeyesoftheworld.
KLDW2009presentedandhosteddesignsuperstars
fromUnitedKingdom,France,SouthAfrica,Italy,
Lebanon,UnitedStatesofAmerica,Spain,Australia,
andGermany,alongwithstarsfromAsiasuchasJapan,
HongKong,Taiwan,Singapore,Thailand,andMalaysia.
Theyhaveallbeeninvitedtoexhibittheircreative
worksandalsogivetalkspertainingtotheirexpertise
intheworldofdesign,tomotivatethenewgeneration
Malaysianartistsanddesigners.
EntitledShow+Shine,KLDW2009hadservedasa
platformforallcreative-basedinputsandoutputs.In
theninedays,fromMarch27tothe4thApril,KLDW
2009showcaseddesignsuperstarsinanextraordinary
seriesofexhibitionsandinstallationsintheAnnexe,
CapSquareandattheNationalArtGallery(NAG).
CapSquareKLbecamethemuchtalkedaboutsite
whentheybecamethechosensitefortheSecret
TentDesignBazaar.Thetentswereshowroomsfor
manyaspiringdesignerstosharetheirhand-made
productions,designerT-shirts,postcards,buttonsand
variousimaginativeproductions.YoungdesignersHafz
andFazliparadedproductsandT-shirtsforsaleunder
thelabelFLIPPTEE.Liyana,anengineerbytraining
musedoverdenimdiscards.
Theupperfoorsshowcasedthought-provokingand
challengingideas,youngandenterprisingdesigners
illustratetheendlesspossibilitiesofmedium,
technologyandcreativesolution.MichaelChuah
sharedtipsonsurvivingasacharacterdesignerand
comicbookartist,MuidLatiffoneofthenotable
Malaysiandigitalartistandafounderofartcollective
group,DigitalMalayaProjectthrillsviewerswithhis
portfolio.DragonsoftResearchprovidedinteractive
funandevidenceoftheirhi-tech
phenomena.GigiGee,the
jewellerydesignercaptured
greatattentiontoher
prettyclayarray.Nanafrom
Roomismgrouphadan
arrayofcharacterdesigns,
representedbyhandmade
softtoysandproducts
namelyKelunamedafter
theBattownofKluang,Johor.
Alargeinstallationandintriguing
mosaicofcollagedimpressionsby
ISSUE #02
04
TENT - ALIZING DESIGN
INSPIRING THE MALAYSIAN
CREATIVE ECONOMY WITH
KUALA LUMPUR DESIGN WEEK 2009
lbyUsnitaNasirandIrvinHanni(Awin)
Dr. Mohamed Najib Ahmad Dawa, Director General of NAG viewing the works
by Aya Kato the petite Japanese designer standing on his right
Hi, Im little bat Kelu
Kelu is exampler of the Kluang
spirit. Though most youngsters
of Kluang pursue hearts are still
where thair home is... with not
only demonstrates the life of
Kluang residents but also their
love for this city, stirred from the
Bat DNA in our blood. @www.
roomism.net
Work by MAWS. MAWS is a group of four dwsigners:
Jacky Low, Vuhy YIP, Nyman YAP and Cindy Tsan.
MAWS is running a F* project, a message to create
awareness among the coumunity on matters that
concern our environment. @www.maws.my
Funky lampshads by Heath Nash a South African designer who transform trash into treasures using
plastic bottles, caps and other discarded materials. @www.heathnash.com
Secret Tent, Design Bazaar is a creative space where anything goes. Each tent showcases unique works of art and design. It provides a sneak peek into
what we may expect of the Malaysian Creative Economy in the future.
Michael Chuah plays his role as a character designer and comic book
artist. In 2005, he produced Genky 100 - The Character Guide. Currently,
Michaels been fddling with his new character series called The Never
Ending Tales and more activities coming on their way. Find out more@www.
michaelchuahdesign.com
MAWSagroupoffourtalenteddesignersgreetvisitorswho
gravitatedaroundtheworkinadmiration.
Asoneoftheprimevenues,NAGexhibitedtheBarackObama
presidentialposterdesignedbyDavidCarsonofU.S.A.Oneofgraphic
designsmostinfuentialgurus,DavidCarsonpresented26ofhis
favouritedesignworksinKLDW2009.Thisprofessionalsurferand
formerdirectoroftheRayGunmagazine,
servesasCreativeDirectorfortheGibbes
MuseumofArtinCharleston,andrecently
releasedtwonewbooksTREKandTheBook
ofProbeswithMarshallMcLuhan.There
werealsoadiverseline-upofimaginative
andinspiringdesignworksfromalloverthe
world,includingtheintricateorientaldigital
artworksofAyaKatofromJapan,typography
masterNathalieFallahafromLebanon,Asian
designhotshotsJacksonTanandFelixNgof
NewWavefromSingapore,andofcourse
MalaysiasownIfInteractive,whichhad
showcasedaninterestingexhibitioncum
installationentitledArtwithSound.
Togetherwiththeexhibitions,NAGhadalso
hostedafewcomponentsoftheAcademics
programofKLDW09,includingtheInternationalMastersMaster
ClasswithNilleSvennson,NathalieFallahaandHeathNash,Malaysian
MastersMasterClasswithtopdesignmasterWilliamHaraldWong,
risingstarSanyenfromIfInteractive,andHanzoNg.Theclasses
conductedatNAGhadsuccessfullydrawnafull-houseaudience,with
participantsrangingfromlocalstudentsanddesignpractitioners,as
wellasinternationalparticipantsfromSingapore,Lebanonandeven
U.K.
Withtheabundanceofcreativetalentandtantalizingoutput,itis
timelyforMalaysiatomaketheCreativeEconomyasanational
strategyinhighlightingthecountryonthedesignindustrymapofthe
world.Forthedurationof9days,KLDW2009haddonejustthat,
makinganimpactsostrongthatithadhelpedtoinspiremorecreative
thoughtsandworksfromwithintheMalaysianpeople.
William Harald Wong strongly voiced out his hope
during the press conference at National Art Gallery
for the KLDW 09, The local creative industry has a
lot of talented small groups, not quite known groups
(of designers) that can be tapped. Malaysian society
doesnt really care for local designers then they leave
(local design scene) and fnd opportunity somewhere
else. As a centre that always give support to the art
scene, we do hope that in future this prestigious event
will highlight and give more opportunities to our own
designers and artist.
KLDW09, exhibitedatvarioussitesendedonthe4thApril2009. However, youmaystillvisittheparticipantssite
www.dragonsoft.com.my
www.genesisculture.com
terompahsurau.blogspot.com
outhapinessclothing.blogspot.com
www.ayakato.net
www.l-a-v-a.net
www.sagmeister.com
www.pipit.cccelsius.com
http://fiptees.blogspot.com
05
Nathalie Fallahas observations of her societys structures, languages
and lifestyles are expressed through projects, which seek to visualize the
environments that make up Lebanon. @www.vit-e.com
Zack Low, a Malaysian Chinese jewelery designer
who born in Penang. He set up Laconic, a
new local jewelery brand with handmade
contemporary art jewelery design in year 2000.
Zack and partner Cobain Foo study the elements
from different felds, such as painting, literature,
architecture, music, etc. and re-construct it into
his new art piece. @www.e-laconic.com
TheBarackObamapresidentialposterdesignedbyDavidCarsonofU.S.A. @
davidcarsondesign.com
`Art with Sound is a cross-disciplinary collaboration between designers and
musicians from Japan and Singapore. The exhibition premiered in Berlin, Germany,
at the DMY design festival, Shanghai, Tokyo and exhibited at National Art Gallery
Malaysia. @www.dualcitysessions.com
The exhibition captured an exciting phase in Singapores culture as
the island-state repositions itself as a new global design centre. It
showcased the works of designers who are establishing themselves
as part of the ``New Wave. @
www.blackdesign.com.sg
COVER ARTWORK: ARTIST
KHAIRUL AZMIR
SHOIB A.K.A
MEME
FindoutmoreaboutMemesworksat
http://verame.blogspot.com
orcontact:memezareena@yahoo.com
06
Open Daily 10 am10 pm. All are welcome.
www. t ms a r t . c o m. my
TMS Art Centre I Managed By TMS Art Marketing Sdn. Bhd I
No 301, Jalan Bandar 11, Taman Melawati, 53100 Kuala Lumpur.
Tel +603 4107 5154 Fax +603 4108 5154
Email tmsart2009@hotmail.com
Paintings Batik Fashion, textiles,
accessories handicraFts art & craFt
WorkshoPs aBoriginal sculPtures
Bonsai exhiBitions
MENGENALI
SENI KHAIRUL
AZMIR SHOIB
(MEME)
lolehHashimahNyok
M
enghayatikarya-karyaseniolehKhairulAzmir
Shoibataulebihdikenalidenganpanggilan
MemeyangdipamerkandiGaleriRAFineArtsdari
7hingga20April2009,seakankitamenjelajahdunia
fantasiyangpenuhmimpi.Sedaratautidakiaseakan
membawakitakesuatualamlainyangpenuhcerita,
seakanrasafantasi,seakanrasadirikitadibawa
kepadawatak-watakdalamolahankaryanyayang
begituunikdantersendiri.
MenurutMeme,flem-flembaratsepertiStar Wars,
Alien, Lord Of The Rings, Alice In Wonderland dansiri
flemHarry Pottersebuahflemadaptasidarinovel
hasiltulisanJ.K.Rowling,banyakmempengaruhigaya
dancarapengolahansertailhamdalamkarya-karya
ciptaannya.BermuladenganminattersebutMeme
telahbermulamengolahideadanmenjadikannya
karyavisualyangmenarikdanberbaurpascagotik
yangsangatmenepatiintipatidalamdirinya.
SayamengunjungiGaleriRAFineArtbaru-baruini
danmenemuinyasemulasetelahsekianlamaMeme
menghilangdiri,apabiladitanyabeliaumengatakan
bahawahimpunankarya-karyadipamerkantelah
dihasilkanselama8tahundandarisitudapat
ditafsirkanbahawabeliautelahmenemuisatu
kematangandalamberkaryaberbandingketikamula
melihatkaryanyaditahun1997ketikapertandingan
BakatMudaSezaman(BMS)yangdipamerkandiBalai
SeniLukisNegara.WaktuituMemebarusahaja
bergelargraduandariUiTMShahAlam.Karyanya
bertajukLife Support yanghanyaberjayaterpilih
untukpameranBakatMudaSezaman1997ketika
itumenggunakanbahanbesiyangkarekternyamirip
alien(beberapaekoralien)yangdiletakkandidalam
sebuahakuarium.MenurutMemepengolahankarya-
karyaawalselepasgraduansangatdipengaruhioleh
RajaShariman,yangmerupakanpengarcayangtidak
asinglagidalamperkembangansenilukisMalaysia.
Sekiranyadilihatkembalisememangnyakaryanya
menemuisuatuperubahanyangketaraberbanding
duludimanapengolahankaryaterdahuludiolahbegitu
dominandenganpenggunaanbesidalambentukyang
begitukuatdimanaperwatakannyaseakansangatganas,
jahat,hodohdanpenuhkegelapan.Namunkinikarya-
karyanyaberpewatakankerdil,misteritetapicomel
(cute).BagaimanaperubahaninidilakukanolehMeme
dantelahmenjadikankaryanyatersendiri,unikdan
misteri.
Adaketikanyakitaseakandibawakealamfantasizaman
remajayangpenuhkebebasantanpaadakokongan,
karekterciptaanMememenerusikaryanyabegitu
bersahaja,diolahsebegiturupatanpalarangan.Benarlah
kiniMemetelahbegituselesamenciptawatak-
wataknyadenganlakaran-lakarandarigarisanyang
penuhyakinbahawaitulahyangdiainginidalamdiri
danfkirannya.Kanvas,dinding,bahan-bahanbuangan,
kainyangdipilih(mengikutkesesuaian)seakanbersatu
dengandiriMemesewaktumerekaciptawatak-watak
dalamkaryanya.
DalamkaryaSilent Nightwatak-watakrekaanMeme
seakanberceritakepadakitatentangpenghidupan
makhlukkecildalamrimbafantasi,sedangmenjalani
kehidupandanmalamyangbegitusukar,ditemani
lampukecilyangdipegangolehsatumakhlukkecil,
sedangfgurayangberbentukseperti Arnabitudalam
keadaanyangsangatsedihsepertitelahkehilangan
sesuatuataumungkinsahabatataumungkinjuga
keluargayangsangatdisayangidandisebelahnyadilukis
seorangrakan,suatumakhlukyanglainsedangcuba
menghiburkannyadengannyanyianbersamarakan-
rakanlainyangjugamakhluk-mahklukkecilsambil
bermainalatmuzikmasing-masingdisekeliling.Dan
nunjauhdibelakangkelihatansamar-samarsedang
memerhatidanbegituteliti,mungkinkahmenunggu
peluanguntukmencarisantapanmalam?Karya-karya
iniberceritaseakansebuahanimasiringkasnamun
padatceritadanpengajarankepadakhalayak.Inilah
yangmenjadikankaryaMemeistimewa,ciptaan
mahklukatauwatakdalamkaryanyamemberimakna
tersendiridanmembiarkankhalayakuntukmemberi
interpretasidanjalanceritanya.Mungkinjugakhalayak
berkongsiflemyangmerekaminatidanmenyelaminya
melaluikarya-karyaMeme.KetikamelihatkaryaMeme
kitateringatakanflemanimasibaratsepertiAlice In
Wonderland atau flem The Night Before Christmas.
MungkinagakjanggalmelihatkaryaMemejikamahu
dibandingkandengankarya-karyaseniman-seniman
terdahuludariMeme,yangdisiplindangayakaryanya
memangberlainanideadancaraberfkir,namunkarya
Mememewakilierakiniiaitusebuaherayangakur
kepadatuntutanteknologi,multimediadanmungkin
karya-karyasebeginidapatmenembusijiwaremaja-
remajagenerasibaruerakiniatauerakontemporari.
Fenomenatarikaninitidakjauhberbezasebagaimana
dinegaraJepundimanaremaja-remajayanggilakan
sesuatuyangganjiltapikawaii!

ApakahinisasaranMeme?ApakahreaksiMeme
apabilamelihatkarya-karyakonvensionalseperti
AbdulLatiffMohidinatauSyedAhmadJamalatau
seniman-senimanterdahulu,apakahMememahu
berkongsidengankhalayakgenerasibaru/remajaatau
kanak-kanakagarlebihmeminatisenilukisbahawa
senilukisitubolehjadipenuhceritadanfantasiseperti
yangdigambarkanolehMemelewatkarya-karya
pascagotiknya.ApakahinitujuanMeme?
Soalan-soalaninibermaindifkiranketikamenulis
artikelringkasinidanmelihatkarya-karyafantasi
Meme,lantassoalaninidiajukankepadaMeme.
Beliaudengansenangmenjawabbahawabeliaubegitu
mengkagumikeduapelukistanahairtersebutyang
telahmenciptasejarahsenilukisMalaysiadandia
cukupkagumdenganhasilkaryamerekayangbersaiz
besardengansapuanberussertapilihanwarnayang
indahdanmenarik.
Inilahyangmengasyikkanmengenaikarya-karya
Meme,perasaanmelihatdanmengalamiadalahdua
pengalamanyangberbeza.Walautelahsekianbanyak
karya-karyayangtelahdihayatinamunbilamelihat
karyaMeme,seakankitamelihatduniayanglain,
menjejakpengalamanyanglain,danuntukseketika
kitarasadirikitaseakanbermimpijadisepertikanak-
kanak,remajadanseketikapulajadidewasadalam
alamfantasidanmisteri?
Silent Night, 2008, mixed media on canvas, 152 x 84 cm Pari-Pari Bermain Boneka Burung Hantu
2009, Mixed media on canvas, 137 x 76 cm
Life Support, 1997, Instalasi, Mixed Media, Pameran Bakat Muda Sezaman
1997, Balai Seni Lukis Negara
W
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07
FEATURES
ISSUE #02
08
CANDY
COATED : CUTE
CONFUSION
lbyWeningCheah
differentlytotheirownfrustration/non-satisfaction/
depression(negativeemotion).Commonsolutionsto
frustrationleadtoaregressivebehaviour;becoming
childishorrevertingtoearlierandmoreprimitive
waysofcopingwiththegoalbarrier(Burger,2004).
Beingcuteisoneofthemethodsofdealingwith
negativeemotions;itisacoverupoftheirpersonal
natureandhidestheiremotionunderalayerof
artifce(Kinsella,1995).
Afterresearchingtheconnectionbetweenthe
psychologicalandthecuteculture,Ihaveinspired
tocurateanexhibitionaboutthesephenomena.
TheCandyCoated:CuteConfusionartexhibition
waspresentedlastyearatArtsAliveArtspace,
Australia,andfeaturedselectedartistsfromMalaysia
&Australia.Theinfuencesoftheirdiversecultural
backgroundscontributetoeachartistsanalysisofthe
worldtheyoccupy.
Theexhibitionenabledartiststobringforwardinner
emotionsoffrustrationsandnegativereactionsto
berepresentedintheaestheticsofcute.Whatmay
seemtobeapleasantsightofnostalgicmemories
toartappreciatorsencouragedtheotherviewersto
consequentlevelsofunderstandingthestorybehind
theartworks.
KhairulAzmirShoiba.k.a.
Memesworksaremeticulous
anddelicateintheirdetail,yet
borderonthedarkersideof
ournature.Heisalwayskeenon
creatinghisowncreaturesand
lettinghisimaginationrunwild
completewiththeircostume
andaccessories.Memesart
representshisfantasiesbrought
toreality.Cuteisoftenrelated
touglybutadorablewhile
frustrationsbringaboutthe
feelingsofbeingupsetorannoyedduetotheinability
tochangethesituation.Thecontradictingcharacter
canbeviewedasanalterego;DarthVader,cute
butverysadinside.Memesbrilliantseriesofworks
depictanobscuresenseofexpressionsandbringus
facetofacewithourinnermostmemorieswemay
havelongagoabandoned.
Sanguinarilyversusplushandhuggable,Cat-Rabbits
Cowboys and Indiansbringtomindimagesofyoung
childrenrunningaroundwithplasticgunsandarrow
pretendingtokilloneanother.Today,inthisageof
terror,suchgamesarenotpoliticallycorrectandare
nolongercondoned(CatherineBadcock2008,pers.
culture.Thepursuitoftheascendencyisthetheory
ofwhatIlabelasTheBigWorld.Theconsciousness
ofgeneralpublicinBigWorldisconnectedintimately
withheroism,politics,successesorfailures/high
achievementsandclassconsciousness,alongthe
lineofhighachievementsfullofmotivational
characteristics.Ontheotherhand,peoplewho
arecute-worshipersarelivinginwhatIthinkofas
TheSmallWorld,andtheyengageininterpersonal
approaches.Apparently,theirpostulatefundamental
life-elementisadolescency,laical,puerility,acceptant
andpeace-seeking(Dennett,1996).
Cutenessisnotafunctionalproperty;nevertheless,
cuteisakindofdefencemechanism.Itisa
representationofanissueonalighternote,which
allowsroomforforgivenesswhencertainthingsmay
seemtobemisinterpreted.Defencemechanisms
arepsychologicalstrategiesbroughtintoplayby
individuals,groups,andevennationstocopewith
realityandtomaintainself-image.Beingcuteisto
softenupthetension.Cuteisalsousedtoclosethe
gapofsubordination;asNatalieAngier(2006)ofThe
NewYorkTimesquotedBrianJ.McVeighsaying,To
softenpowerandrelations,andpresentauthority
withoutbeingthreatening.Itisalsoanidealmaskfor
someonetobealessthreateningtarget.Peopleare
oftenrelyingonsophisticateddefencemechanisms
suchasdenialtowardofffeelingsofanxietyand
inwardfears(Burger,2004).Theseindividualsare
workingthroughadolescentgenreissuesprojecting
cuteandotherimmaturebehaviour(perhaps,
contrivingtocharm)todenytheexistenceofthe
cruelreality;likewise,refusingtoadmitthattheworld
isnotasbeautifulasitisperceivedtobe.
ThecultofKawaii(Japaneseforcute)iscommonly
understoodasareactiontoextremepressurethat
accompaniesadultlifeinJapan.Kawaiimembers
seekaspiritualpeaceandescapefrombrutalreality
throughcutethings(Roach,1999).Cutenessis
asimpledistractionfromourmemoriesofpain,
avoidingorescapingreality.Itusesappealingimages
towipeoutourmemoriesofpainful,historicaland
politicalrealities(Newitz,2007).Observedfromthis
perspective,cutenessisakindofculturaldecoy;a
soothingandsimpledistractionfromaworldwith
boundarieswhereproblemsarebecomingmore
mind-bogglinglyandcomplexbytheday.Asameans
tocopewithpsychologicaldistresses,theycontinue
torelyonthisdefencemechanism,asaformof
escapism.
Mostpeoplereacttothiskindofexperiencewitha
healthyamountofnegativeemotions.Individualsreact
Thats cute!
Itsaphrasethatiscommonlyusedintodayssociety
andisutteredalmostinstinctivelywheneverwecome
acrosssomethingthatisround,little,simpleand/or
lovable.
Cuteisatermthatencompassesanythingand
everythingthatisrelatedtochildishness,youthfulness,
innocence,harmlessnessandphysicalattractiveness.
Cuteisoftencharacterizedbyacombinationofinfant-
likephysicaltraits,especiallysmallbodysizewitha
disproportionatelybighead,largeeyes,asmallnose
orsometimesevenwithoutnose,roundandsoftbody
features,i.e.HelloKitty.
Sincethe1970s,cutehasbecomeaprominentaspect
ofAsianpopularculture.Itcanbeobservedinfashion,
toys,behavioursandmannerism,personalappearances,
entertainment,commercialproductsandeveninart.
Theculturaltrendhasseemedtobeoverwhelmingly
cuteintheAsiancommercialdirection,especiallyin
Japan.Theotherwayaround,cuteandsublimityis
mutuallyexclusiveintheaestheticsofthewestern
culture.TheAsiansenseofcutenessisradically
differentfromtheWesternaestheticperception,which
isordinarilyassociatedwiththesublime,enigmatic
and/oresoteric.Notwithstandingthefactthatthe
culturaldifferencesbetweenEasternandWestern,
theappreciationsofcutehadsuddenlyfourishedand
reachedtheheightofpopularityincontemporary
globalphenomenon.Thepullofthecuteisapowerful
andomnipresentforce(Roach,1999).Meanwhile,cute
isnotonlythewordthatweuseincommon,cuteisan
uptrend.Itispotency!Butwhatisthesubstantialityof
cute?
ThescholarsandresearchersatHarvard
UniversitynamedthiscutephenomenonasCutism
(MassachusettsinstituteofTechnology2004).Cutism
isamajordrivingforcetocreatenewcommunication
Meme, CUTE, Mixed Media, 2008
Exhibition held at Artsalive Artspace, Australia in 2008
ISSUE #02
comm.,14May).Itgivesusanastonishingfeelingofdevillishcute,itleadsto
ourquestioningaboutthecommonperceptionofcuteandreinforceustobe
concernedaboutthephasesofchildtoadulthoodofourchildrenfacestoday.
HopscotchisacutechildrensgamethathasbeenplayedsinceRomantimes.
Insomecountriesbothhopandscotchareratherchildishexpressions
formakeajump.DebbieMcGrathhasraisedaquestionthroughher
workChildishgames:Ifwedontmakeajumpfromthewaysofhistorical
exploitationtoasymbioticrelationshipwithourplanet,whatwilltherebefor
ourchildrentoinherit?
AzlizaBintiAyoba.k.aPolsTUMPANG (To lodge)dealsontheissueofspace
andownership.Outoffearoflosing,werefusetoshare.Thisartworkis
intendedtobreakthebarriersbetweenartwork,artistandthegalleries.Pol
plantedcoupleofhundredsofherhandmademushroomsatcarefullyselected
locationsthatshejudgedrepresentgoodness,fertilityandpower.Besides,Pol
alsoencouragedvisitorstotouch,pluck,andtakehomethemushroomfor
keeps.Itbreaksthebarrierofownershipandrestrictionsofartappreciation
spacethuspromotesharingandnurturingasaculture.
Shadow PlaythatLucydeVereMeasurespresentsdealswiththefeelingof
uncertainlywhichcreepsaroundthebackalleywaysofourmind.Thingsthat
arepartofourordinarylifesroutinebutsometimeshaveslippedoffour
mindthatmaycausehavoctothefowofliving.Theselittleannoyancespop
upsuddenlycausingparanoiaandarerepresentedbythesecreatures.The
creaturesmaylookcutebuttheyarefarawayfromit.
TheexhibitionalsoshowcasedaselectionofworksfromFindarsandafew
individualMalaysianyoungartistsshowingthevariouswaysinwhichartists
haveconveyedfeelingsemanatingfromemotionsoffrustrationsbasedon
theirperceptionofcute.Artistsengageindiversemediatoexplorethe
substantialityofcuteanditsrelationshiptotheirpastexperiences.
Inaddition,Candycoated:cuteconfusionpresentsaninterestingsetof
challengestoconnectthecuteaestheticsandcurrentfeelings,makingthe
pursuitofarttherarejoyitcanbe.Itaimstocontradicttheconventional
depictionsofcuteasmerelycheerful,happyandpleasantthoughts.The
emphasiswasnotonlyplacedonthephysicalattributesoftheworksthat
makeitattractiveorrepulsivetohighlighttheaestheticsofcute,butalso
onconnotationsoftheartwork.Thisexhibitionexploredthepsychological
explorationofthefrustrationagainstthesociologicalcharacterofcute.
Despitetheappearanceofcutenesswhatthisexhibitionhasallegorizedis
theconstantprocessinrelocationourselveswithinthemyriadofworldly
appearances.
References
Newitz, A2007, Cuteocracy:TheApotheosisofcute, Lilith-Ezine.
Burger, JM2004, TheFreudianApproach, Personality,Wadsworth, 6thedn, pp. 79-83.
Dennett, CD1996, FacingBackwardsontheProblemofConsciousness, JournalofConsciousnessStudies, 3, No. 1, pp. 4-6.
Roach, M1999, CuteInc.,Wired, issue7.12, December.
Angier, N2006, TheCuteFactor,TheNewYorkTimes.
Kinsella, S, Skov, L, Moeran, B1995(eds), CutiesinJapan,WomenMediaandConsumptioninJapan
MassachusettsinstituteofTechnology2004, MITAnimeClubShowingAnnouncement, 16April, Massachusettsinstituteof
Technology, viewedMarch2007, USA, <http://web.mit.edu/anime/Showing-Announcements/2004/2004-04-16>.
Tomoyuki, S2006, LoveforCuteHasJapanSoul-Searching, CBSNews, 14June, viewedMay2007, <http://www.cbsnews.com/
stories/2006/06/14/2p/business/mainD8I839SO0.shtml>.
Cat-Rabbit, Cow boy & Indiana, Mixed Media, 2008
Azliza Ayob, Tumpang, Paper clay and acrylic, 2008
09
Meme, CUTE, Mixed Media, 2008
Candy coated: cute confusion challenges established
values to question the meaning of art itself against
conceptual understanding and the cute appearance.
The exhibition simultaneously deals with the position
of aesthetic perception of cute in todays world,
alongside the ever growing commercializing intention
and the phenomenal impact in contemporary art.
PASSING
PETER HARRIS
lbyYeohJinLeng
P
eterHarris,MBE,passedonattheSwindon
Hospitalafterashortillnesson14thMarch,2009.
Heplayedanimportantroleasarteducationistand
artistinthiscountry,developinginterestinartasan
importantsubjectforbringingaboutemotionaland
intuitivematuritythroughthesensitizingoffeelingsand
theacuteandkeenobservationofvisualphenomena
ofourphysicalworld.Art
playsthatrolewiththe
employmentofaninvariable
complexityofline,space,
colour,textureandform.

Goingabitearlierin
time,aphenomenonof
thepost-WWIIyears
inBritishMalayawas
thetwofoldincreasein
thenumberofchildren.
Therewerenotenough
schools,noteacher-training
institutions,artcolleges
noruniversitiesexceptthe
UniversityofMalaya.The
urgentneedtoprovide
educationofgrowing
childrenwasofprimeimportancefor
theBritishAdministrationduringthat
period.Toovercometheshortageof
teachers,theMalayanTeachersCollege
atKirkby,Liverpool,wasestablished
andsubsequently,another,theBrinsford
TeachersCollegeatWolverhampton.
TheSpecialistTeachersTrainingInstitute
atCheraswascreatedto
provideone-yearrefresher
coursesforteachers
withfveyearsteachingexperience.
PeterHarrisinvaluablecontributionas
Supervisorfordevelopmentinthefeld
ofartandarteducationisunquestionably
important.
HecameouttoMalayain1951and
becameSuperintendentofArt.Hismost
enduringcontributiontothefuture
ofMalaysianartandartistswaswhen
heformedtheWednesdayArtGroup.
HewasalsoinstrumentalfortheArt
EducationdivisionoftheSpecialist
TeachersTrainingInstituiteatCheras,
TherewerenoArtCollegesorArt
schoolsthen.Theinstitutionknownas
STTIprovidedopportunitiesforthe
pioneerMalaysianartiststocomeabout
inthiscountry.Thebettergraduates
ofSTTIreceivedfederalscholarships
tofurthertheirartstudiesabroadandweretoplay
importantrolesaslecturersattheInstituteTechnology
MaraandtheSchoolofArtoftheScienceUniversityin
Penang.Manyofthemhavebecomeprominentfgures
intheartworldinMalaysia.Therestinrelationtothe
artisticdevelopmentinthiscountryishistory.
Iwasinthefrstbatchof150studentprobationary
teacherssenttoKirkbyin1951,andonmyreturn
in1953,IwaspostedouttoKualaTerengganuto
teach.attheSultanSulaimanSecondarySchool.Ihad
noideawhatwashappeninginthefederalcapitalof
KualaLumpur.IhadnoawarenessoftheWednesday
ArtGrouporwhoPeterHarriswas.Imethimthe
frsttimein1957whenIwenttoKualaLumpurfor
aninterviewinconnectionwiththefrstfederal
scholarshipcreatedbythegovernmentforArtstudies
inEngland.
IhadbroughtalongsomeartworkofthechildrenI
taught,includingtheexquisitemat-work,thewood-
carving,thesongketweavingandthecolourfulkites
(waus),traditionalcraftslearntfromtheirparents
anddoneinthekamponginthosedays.Havinglaid
theworkonasidetable,atallEnglishmanstrodeup,
lookedatthecraftsandtoldmestraightinmyface
thattheywerenotart.Ihadtakentwodaystraveling
bybus,crossingsevenferriesinTerengganu,andan
overnightstopinKuantantoKualaLumpur.Ibarked
backwithannoyanceandahugeargumentensued
betweenhimandmeoverwhatwasart.Wasthere
noartmeritinthelovelypatterns,thetexturesand
colorsoftraditionalcraftworkdonebythechildren?
Whatwaspaintingtothesechildreninthekampungs?
Theargumentwentontodwellon
modernityandtradition.Mr.Hunter,
theheadofthepanel,eventuallycalmed
medownandgotmetotaketheseat
placedinfrontofthepanelmembers.He
knewmewellasIplayedRugbywhenI
wasapupiloftheAndersonSchoolin
Ipoh.Heaskedmembersofthepanelfor
questions.Asilencegrippedtheroom.
Therewasnone,andIwasexcused,so
Icollectedmythings,bangedthedoor
afterme,andcaughtthebusbackto
KualaTerengganu.
Threemonthslater,theHeadmaster
toldmethatIhadbeenawardedthe
scholarship.TheMalayanStudents
DepartmentinLondonenrolledmeat
theChelseaSchoolofArtinsteadofthe
ArtEducationDepartmentatCorsham
inBath.Iaccidentallybecameanartist
andthatsanotherstory.
ThroughtheproposalofthelateZainAzraai,Wan
GalleryorganizedanexhibitionoftheWednesdayArt
GroupcreatedbyPeterHarris.Icuratedtheshow
heldin1996.AnexhibitionforPeterHarrisforthe
followingyearwassuggested,andweeventuallyfound
himlivinginalittlequainttowncalledMalmesbury
betweenLondonandBath.MywifeDianaandIstayed
withhimforaweek.Ihadtheopportunitytolookinto
thehundredsofdrawingsandoil-crayonpaintingsand
selectedabout200fortheexhibitionscheduledfor
October,1997atWanGallery.Hehadapoorpension,
hadovercomecancerandcouldnotaffordtocome
out.Iselected10ofthebestandgavehimRM10,000,
alotofmoneytome,totravelout,staywithusand
havetheexhibition.Webecamegoodfriendsandhe
cameouttwicetostaywithus.HegavemywifeDiana
astashoftwentydrawings.ItoldhimaboutDrTans
ArtGalleryinPenangandhehadanexhibitionthere
subsequently.Weneversawhimagainafterthat.
WhenIfoundhimafterthirtyyearsinMalmesbury,
therearoundthehousewasabeautifulcollectionof
traditionalSabahanhatsandanexquisitevarietyof
crafts.Thinkingback,wasnotthismanwithwhom
Ihadthathugeargumentattheinterviewonthe
artisticmeritintraditiuonalcrafts?Afterreadinghis
thoughtsandhiswritings,onhindsight,hewaswithout
doubttestingwhatthisdumbartteacherfromKuala
Terengganuhadinmindaboutart.Ofcoursehedid
notknowthattherebelhadsomeideaaftervisiting
themuseumsinParisfveoccasionsduringtheteacher-
trainingcourseatKirkby.Onanotheroccasion,he
hadcycledacrossSwitzerlandfromBerntoGeneva
andacrosstheAlpstoLyon,thenallthewayto
theMediterraneanviaAvignon,Toulouse,Arlesand
Marseillestovisitmanymuseumsandartgalleries.He
hadalsotraveledextensivelyinItalytovisitmuseums
inVenice,Rome,Naples,FlorenceandMilanonan
earliertriptohaveanunderstandingoftheRenaissance
MovementthatsweptacrossEurope.
Itisinterestingtonotewhathehadsaid,quote;
All art must be infuenced by the general
culture of the age and of the environment in
which the artist lives.
Mount Kinabalu - The River and Its Source, 1996,
Oil on wood Panel, 190.5 x 106cm, NAG Permanent
Collection 2003-104
Joget Moden, 1959, Cat Minyak,
140 x 90cm, NAG Permanent
Collection:1959-049
Peter with Jin Lengs wife at Puan Sri
Rosaline Foos house in Cameron
Highlands
Peter Harris sketching in Cameron Highlands
ISSUE #02
10
HesaidinalettertoJinLengthatheoncewentto
seeanexhibitionintheMuseumofModernArtin
Tokyothirtyyearsagoandhopedtoseestimulating
worksdevelopedfromthegorgeousartisticconditions
ofJapan.Whathesawwereblackcanvasses.The
presslovedit.Theartisthadbeentakenoverentirely
bythenihilismprevalentinthegrowingdecadenceof
theWest.HedetestedthecommercialmodernArt
worldpromulgatedbycommercialgalleries.Onthat
note,hesaidthatContemplationisunfashionable
now.Immediateimpactiswanted,inmusic,inpoetry,
literature,theatre,television..Withtheeastern
traditionsofcontemplationandtheboundlessrichness
ofIndian,ChineseandMoghulart,onehopesto
fndinMalaysiaanew,rich,worldinspiringartistic
development..Thehugeoptimism,energy,and
prosperityoftheEastshouldofferfarmorethanthe
pessimismanddecayoftheWesttotheyoungartist.
Regrettably,thecontemporarysituationofwhatwecall
MalaysianModernArtorPostModernArtispartlya
resultofthemodernIsmsbroughtbackfromtheWest
byartstudents,andpartlyisconnectedquotewith
thesnobberydisplayedbytheself-styledconnoisseurs
mediatingonpureaestheticpleasure.Itcanbe
likenedtoaroleplayedbyarrogatingtothemselves
thecreativepowerofGod.Or(signofpsychein
Modernandpost-ModernArt.-DonaldKuspit..1990,
CambdridgeU.P.),itcouldbejustplainignoranceof
artisticcreativityanditsevolutioninartisticterms.It
isbutanarcissisticneedtobelieveinjustthepure
creativeact,ignoringtheenigmaoftheunconscious
forcesexpressedthroughsymbolismfromwithinthe
psyche.Theneedforrootednessandtranscendenceis
passedover.ThegrowingdecadenceinModernartis
thatitisnotaboutartormodernityatall.Whatrules
todayismoney,andhewasverymuchawareofthe
situationgoverningartisticproductiontoday.Thathe
hadexpressed12yearsagointhelettertome.The
commercialModernartworldisoutsidemysphere
ofenjoyment,hesaid.Hecametocontributehis
expertise,encouragementandenthusiasmthroughout
theMalaysianschoolsystem.
JinLeng
9thApril2009
EXHIBITION HIGHLIGHT
H
anEagelshasspecializedinarchitectural
photographyforthepasttwentyyears.
Hisworkrunsthegamutfromhistorical
subjectstocontemporarydevelopmentsin
visualculture.Hisphotographshavebeenpublishedinnumerousbooks
andmagazinesandhaveappearedininternationalexhibitions.
SeeingtherestoredMastershouseinDessau,Iwasinspiredtosearchfor
examplesofBauhausarchitectureatothersites,bothknownandunknown.
AsIenteredintodiscussionwithexpertsinthefeld,Irealizedthatnoone
hadcompiledacomprehensiveoverviewofallexistingBauhausbuildings
andthusbeganmysearch,frstinthearchives,thenontheroad.
ItmightbenecessarytodefnewhatImeanwhenIstayBauhaus
archictecture.Thebuildingsfeaturedinthisexhibitionweredesignedbythe
masters,teachersandstudentsoftheBauhaus,aswellasbythemembers
ofWalterGropiussarchitectureoffce.Theyspanatimeperiodbeginning
withthefoundationinDessaubyNationalSocialistregimein1932,toits
fnaldissolutioninBerlinoneYearlater.
Itistheintentionofthisexhibitiontoofferabalanceddocumentation
ofknownandforgottenbuildings,ofrestored,convertedanddilapidated
exponents.Itismyhopethatthiswillhelptocreateamorecompleteand
informedimageofBauhausarchitectureintheeyesofthepublic.Theinitial
ideaofdocumentingarchitecturegrewintoabeautifulandrewardingtask.
ThisismostlyduetothepeopleIencounteredinthecourseofmytravels,
manyofwhomIwasabletowinoverforthisproject.
Yeoh Jin Leng
The Valley Below Peter Hariss House in Malmesburry
1998, oil pastel on paper, 29 x 20cm,
Artist collection
11
SHARING
THE VILLAGE
NEXT DOOR:
COMMUNITY
ART+LIFE
lbySimonSoon
P
articipationincommunitylife,throughthecreationofmeaningfulartistic
practicesthatisabletomobilisealocalpublic,isanimportantaspectof
theirpracticeforanumberofcontemporaryartistswhoresideinJogjakarta.
Theideaofagerakansosial,orasocialmovement,meansthatartisoften
framedbyhowrelevantitistosociety.
Ideally,artistswhohavesucceededinmakingacareeroutoftheirpractice
shouldalwayscontributesomethingbacktothecommunity.Afterall,itisthe
community,byandlarge,thathassupported
manyofthemthroughtheearlyyearsoftheir
beingstrugglingartists.
Jogjakartaisaconcentratedurbankampung
wherepeoplefromalloverIndonesiacometo
pursuetheirhighereducation.Manystayedonto
workinJogjakartaaftercompletingtheirstudies
andhavereliedonasupportnetworkbuilton
friendshipmorethankinship.Itistherefore
unsurprisingthatthisconstructedsenseof
belonging,whichisnotbasedonbloodline,
isalsonotonethatisbasedprimarilyonthe
notionofexclusivity.Althoughitcannotbedeniedthatcliquesandpocket
groupsdoexist,therearealsomanymovementsintheJogjakartaartscene
thathavestrategisedtheirprogrammesandideasaboutthecommmunityto
beasinclusiveaspossible.Manyprojectshavealsolookedbeyondthearts
communitybyworkingbeyondthisexclusiveframework,lookingattheways
inwhichothercommunitiescanbeengaged.
Oneofthemisayear-longprojectspearheadedbySamuelIndratmain2008.
SamueliswellrecognisedasoneoftheseminalfoundersoftheApoktik
Komikgroup,alongwithBambangToko,ArieDyanto,andPopokTriWahyudi.
FormedaftertheIndonesianReformasiduringatimewhencontemporaryart
inIndonesiaunderwentanimmenseperiodofcreativegrowth,thecollective
becameacatalystinthemuralartmovementthathavetransformedthecity
intoavibrantandlivingartspace.
Takingengagementwithsocietytoanotherlevelinhismostrecentproject,
Samuelplayedtheroleofafacilitatorinmanypublic-mindedprogrammes
thatareaimedataestheticisingcommunalandverylocalspaces,especiallythe
kampungcommunitiesthatsurroundthebuzzingtownship,withtheobjective
ofgeneratingasenseofcollectiveownershipandresponsibilityinthesespaces
throughcollaborativeinvolvement.
Mypersonalfavouriteamongtheprogrammesthatwererunarethe
workshopsonsignage.Whethertheyaremadefordirectionalpurposes
(streetsigns),asindicationofpublicfacilities(publictoilets,securityfee
collectionbowl,etc.)orpublicmessages(JagaKebersihan/KeepThisPlace
Clean),thesesignagearethefruitsofthecollectiveeffortbyacommunity
inspiredtorespondtotheirsharedspacesinacreativemanner.Ratherthan
imposingacreativevisionontoagroupofpeople,theseworkshopsactually
offeranopportunityforthelocalresidentstocomeupwithanaestheticthat
bestrepresentandexpresstheirownvisionofaneighbourhoodbasedon
theirexperiences.
Anotherprojectthatranintandemwasanextensionofthemuralart
initiativethatwascentraltothetheApoktikKomikcollectivesintheearly
2000s.Thistime,Samuelhaschosentocollaboratewithskilledartisansof
differentcompetenciesandwhoareallprofessionalsintheirownfeld.They
includeapainter/craftsmanwhopaintsonglass,astagedesignerfortraditional
Javanesetheatre,ashadowpuppetmaker,asouvenirpainterwhodecorates
disusedbecak(trishaw)hubcapsandmanyothers.
Theprogrammeentailsmagnifyingtheideasandabilityoftheseskilledartisans
onamuralscale.Theresultcanbereadasastatementof,ahomageto,oran
acknowledgmentoftheirunsungcontributiontoJogjakartascreativepulse.It
isun-monumentalinasensethatitdoesnotseektopraiseorwaxlyricalon
alevelthatputstheseartisansuponapedestalneedlessly.Instead,whentheir
achievementshinethrough,itcamethroughtheirbravuraanddisplayoftalent,
communicatingmoreeffectivelyonhowartistsorcreativeindividualscan
changethewayweexperienceourcommunalspacesaswellashighlightingthe
continuousroletheyplayinshapingJogjakartascreativeeconomy.
Inmanyways,itisnotsomuchthedemocratic(andparticipatory)gesture
inherentinSamuelscommunityprojectsthatmakethemsuchappealingand
inspiringaccomplishments,afterallthisismerelyaform-itmightworkvery
differentlyinanothercontext.Ithinkitwasthewillingnessofthecommunity
toplayanactivepartintheprogrammethatsaysalotaboutwhatsortof
ideasthesepeoplehaveintheircommitmenttotheproject;andwhenthey
usethewordkomunitastodescribethemselvesascomparedtothelooser
ways,thoseofuswholiveinurbancentres,understandwhatitmeanstobea
partofacommunity,letalonedescribewhatcommunityreallymeans.
Lastbutnotleast,anothermuralprojectinitiatedonakampung-widelevel
completestheproject.Workingwithresidentsinupto10differentkampungs,
Samuelmanagedtopsycheupbothadultsandkidsintogettinginvolvedin
treatingthewallsthatrunalongtheirneighbourhoodasahugepubliccanvas
formuralpaintingsofallkind.Manyoftheseparticipantsactuallyhavedayjobs,
orforthekids,school.Still,residentsoftencometogetherafteraharddays
workandpaintlateintothenight.
12
Whetherthestreetsignsaremadefordirectionalpurposes, asindicationofpublicfacilities(publictoilets, securityfee
collectionbowl, etc.)orpublicmessages(JagaKebersihan/KeepThisPlaceClean), thesesignagearethefruitsofthe
collectiveeffortbyacommunityinspiredtorespondtotheirsharedspacesinacreativemanner.
ISSUE #02
ARTIST INRESIDENCE
13
BEING RICH IN
PENANG
lbySharonChin
A
fewmonthshaveelapsedsincetheendofmyresidencyinPenang.
UndertheRBS-MalihomArtist-in-ResidenceProgram,Ilivedand
workedtherefromtheendofAugusttoDecemberlastyear.Ilookback
onthattimewithastrangemixofemotions.LikemanyKL-ites,Iget
suckedintothecityvortexandforgetthatMalaysiaismore,muchmore,
thantheconfnesofKlangValley,withitsshoppingmalls,highwaysand
apartmentcomplexes.Penangmayonlybea3-hoursdriveaway,butit
feelslikeanotherworldentirely.Perhapsthisisevenmoresobecauseitis
surroundedbywater.Malihomisaluxuryprivateresortsituatedatthetop
ofBukitPenara,inBalikPulau.Theartists,however,liveinseparatequarters
somewherehalfwayup(ordown)thehill.Whileaccommodationisbasic,
thesettingisimmenselybeautifulandserene.Oneissurroundedbylush
greenery,andIwillneverforget
thetimeIspottedalonefrefy
inmyroombeforeIfellasleep.
Unfortunately,itappearstobe
inthegenesofartiststobe
discontentedwherevertheyare.
Havingescapedtherushofthe
city,Inowfoundmyselfdeprived
ofstimulationandhuman
contact.
MytimeatMalihomforcedme
toconfrontmyvaluesabout
artmaking.Theopportunity
tocreateworkawayfrom
thehustleandbustleofdaily
life,withoutneedingtoworry
aboutfnancialconcerns(the
programincludesamonthly
stipendofRM2000),seemed
likeadreamcometrue.YetI
struggledtomakesenseofwhatartmeanswhenitisproducedinsuch
isolatedconditions.Whoistheaudience?Whatistheartistsroleinsociety?
Dayspassed,oneglorioussunsetfollowedanother,andIspentmanyhours
mullingoverthesequestionswithfellowresidentartistGabrielleBates.
Meanwhile,thepressuretocreatenewworkmounted.
Myworkhasalwaysrespondedstronglytomysurroundingenvironment.
Ibelievethatartarisesfromsocialconditions.Itrefectsthecomplexities
andtexturesofliving,weavingtogetherrelationships,contradictionsand
confictsinaninfnitearrayofpatterns.ThatiswhytheseclusionatMalihom
eventuallybegantocausemegreatanxiety.Imissedbeingpartofasocial
communitywhereartwasmyformofcommunicationandengagement.
ThingsbegantoturnaroundwhenIspentmoretimeexploringtherest
ofPenang.Therearestillmanypocketsofauthenticlifeandexpressions
ofculturethathavenotbeenovertakenbythehomogenizingeffectsof
consumerism.Irememberbeingcompletelydisorientedduringmyfrst
fewvisitstoGeorgetown,becauseIcouldntkeeptrackofdifferentstreets.
Intryingtopinpointwhy,thereasonhitmelikeabucketofcoldwater:
soaccustomedwasItousingplaceslikeKFC,McDonalds,Starbucksand
variousbanksaslandmarks,that,withoutthem,Ihadtroublenavigating!
Abouthalfwaythroughtheresidencyperiod,Iwasluckyenoughtogetin
touchwithJanetPillaiandChewYokePinofArts-EDPenang,whichisa
non-proft,communityartsorganizationfocusingoneducationandcultural
programsforyoungpeople.Together,weorganizedtwoworkshopsfor
schoolkidsfromBalikPulau,oneoncollageandtheotheronanimation.
GabrielleandIwereexploringthesemediumsrespectivelyduringour
residency,anditwasbothinspiringandhumblingtoseehowyoungpeople
approachedsubjectsclosetoourhearts.Somuchofwhatisexcitingand
enrichinginartoriginatesintheabilitytoletgoandplay.Forchildrenthis
isasnaturalasbreathing,butaswegetolder,itbecomesmoreandmore
necessarytoremindourselves.WeweresoblownawaybywhattheBalik
Pulaukidsproducedthatweendedupshowingtheirworksalongsideour
ownatthefnalresidencyexhibition.
Iamgratefulformyexperiencewiththeschoolkidsbecauseitallowedme
tofeelconnectedwiththelocalcommunity.Ithinkitwasfromthatpoint
onwardsthatIbegantohaveaclearerideaofwhatIwantedtodowithmy
timeinPenang.Differentconcernsstartedtocometogether.Onewasthe
geographicallandscapeofPenangasanislandsurroundedbywater.Another
wasaPenang-basedUMNOpoliticianscommentsaboutpendatang,or
immigrants,inMalaysia.FromMalihom,onecanseetheseainthedistance,
butitwasawhilebeforeIfoundtheroadtoaccessit.Thissearchforthe
seaturnedintoaday-longprojectwhichinvolveddrivingaroundPenang
shootingmobilephonevideosoftheseafrom12differentlocations.
TheseeventuallybecamethebasisforaseriesofworkscalledPocketSeas,
whichconsistedoftheframesofeachvideoprintedonthepagesofold
dictionariesIfoundatChowrastamarket.IcalledtheshowPendatang/
Arrivals.Theexhibitionwasanexplorationofwhatarriveswithpeople
whentheycrossseastoreachnewlands.Ifeltitwasimportanttosaythat,
atsomepointintime,wewereallpendatang
Myresidencyexperiencewasaninterestingone.IthinkMalihomisa
peacefulplacetoexecuteworkyouhavealreadyplannedtodo,butfor
me,thesenseofisolationmadegeneratingnewideasarealchallenge.
Furthermore,itseemstomethattoomuchemphasisoncreatingworkas
anoutcomeforaresidencyovershadowsotherequally(somemightsay
more)importantgoalslikeresearch,exchangeanddialogue.
SpeakingasaKL-itewhohasthecityinherbones,Penangistrulyan
amazingplacetocreateart.Itisrichineveryway:beitcultural,historical,
socialorgeographical.Ihopethisresidencywillcontinuetodevelopand
attractmoreartistswhocanpartakeandaddtothisrichness.
PocketSeasSeries1.PantaiPasirPanjang.8.30AM.Indonesian,2008.
Handdrawnmap(graphite,colorpencil&charcoalonpaper),wooden
box,olddictionaryprintedwithimagestransferredfrommobilevideo
phone.
FilmingtheseaaroundthecoastofPenang.
EXHIBITION HIGHLIGHTS
14
THE ART OF
VISUALIZING
SALINA
F
ordecadesthenovelSalinawrittenbyDatukDr.A.Samad
Said,NationalLaureate,inthe50swhichdepictedthe
strive,thestrugglesanddilemmafacedbypost-worldwar
twocommunityinSingapore,hadbeenchidedasbeingtoo
liberalinpresentingthelifeofaprostitute.Thenovelhadin
thepastbeendeemedunsuitableforstudentsofliteraturein
MalaysiawhiletheMalayliteraturestudentsinSingaporehad
accesstoit.Aselaboratedintheforewordofthe1999Salina
abridgedversion,someconsideredthenoveltoothick,too
heavyandtooadult.Foritbeingtoothick,manydiscussed
thebookwithoutreadingit,foritbeingtooheavy,manyleft
ithalfway.Andasitwastooadult,itseemedtobeofflimits
totheyoung.Hencewheninlate2008,NoorAzizanRahman
Paimanassignedagroupofyoungsters,fnalyearartstudentsof
UiTMSeriIskandar,PerakthenovelSalinaandletthemlooseto
interprettheworkattheirheartscontent,aninterestingarray
ofexpressionsemerged.
Theemergenceoftheabovementionedneededtobevouched
for,appreciatedanddocumentedinmanywaysthanone.The
NationalArtGallery(NAG)wasinvitedbytheartschoolto
beamemberofthepanel(alongsideNurhanimKhairuddinand
thegreatliteraturegrandmasterA.SamadSaidhimself!)whose
rolewastoappreciatetheeffortsofvisualizingSalina.One
fneTuesday,the7thApril,NAGjourneyedfromthemundane
trappingsofourcuratorialoffcetotheunchartedvistaofan
emergingartgenerationwhohadbeenunderthetutelage
ofrenownedfneartistsincludingAznanOmar,NoorAzizan
RahmanPaiman,DaudAbdulRahimandSyed
Alwi.
WithPaimanastheChairman,thepanel
agreedthattheexhibitionwasanoteworthy
effortfollowingmanyotherearliereffortsby
fneartistswhohadengagedoralludedto
visualizinganovel,apoemoranyotherform
ofliterature,namelypartnershipslikeSyed
AhmadJamal&KassimAhmad,SulaimanEsa
&SamuelBeckett,IbrahimHussein&Chairil
Anwar,ZulkifiYusoff&SirFrankSwettenham.
Thearrayofimagesdepictedbythestudents
veeredmoretowardsillustrativestyles.Caricaturistportraiture
andcharacterportrayaloftheprostitute-womanarchetype
seemedtobethefavouritemodeofinterpretingthenovel.A
SamadSaidhimselftrainedinartbyateacherinSingapore
andtodayproducesartworks,inkdrawingswhicharehighlysoughtafterbysome
collectors,feltthattheartistswereabitrawandmentionedthepossiblereason
forthatbeingtheirlackoflife-changingexperience,hencetheexpressionsseemed
defcientashesaid, anak belum merasai terhumban dalam hidup tidak seranum
diharapkan.NajwaZulkifiexceededexpectationsbycreatingalargesize
fy,andthemoreoutstandingandmemorablepieceswereproducedbyJulia
MohdZin,NurNifaisaRadzi,AhmadHamzah,AbdulAzimZulkiofi,andNor
MashitaAbdSukar.
ManywerelulledbytheseductionoftheiruntamedperceptionofSalina,
theprostitute.NonehadventuredtoseehowSalinacouldbeeasilymisread,
i.e.misunderstood.PerhapsA.SamadSaidsummarizeditsuccinctlywhenhe
parabledhisnovelSalinatoapainting,intheparagraphofhis1999foreword,
summarizinghowhehadbeeneditedby
severalofhiscolleagues,includingthegreat
KerisMasashedeclaredThepainting
whichwasmisunderstoodseemedtobe
merelywordsuntamed.
BERTEMUSALINA,anexhibitionofselectedworksofthefnal
yearsudentsoftheDecember2008sessionoftheFineArt
Programme,exhibitedattheGaleriUiTMSeriIskandar,Perak.
Theexhibitioniscertainlyworthavisitbutunfortunatelyruns
onlyfromthe6thofApriluntilthe6thofMay2009.Please
forwardenquiriesto aiskirim@gmail.com
I
LHAM2009Menampilkankarya
kreatifolehparapensyarah
FakultiSeniLukis&SeniReka
(FSSR)UniversitiTeknologiMARA
(UiTM).Pameranhasilgabungan
kerjasamaUiTMdanMalaysian
IndustrialDevelopmentFinance
Berhad(MIDF)telahberlangsung
dari28Machingga8April2009
bertempatdiMenaraMIDF,Jalan
RajaChulan,KualaLumpur.
ILHAMadalahsingkatandariIlmu
LahirHanyadariAllahyangMaha
indah.JusteruILHAMmenyanjung
tinggitradisikeilmuansekaligus
penghayatankeindahan.Tradisikeilmuandalamkontekssenilukisdan
senirekapulamerujukkepadaFSSRsebagaiperintisdanpelopor
pendidikanformalsenilukisdansenirekadiperinkatpengajiantinggi
dinegaraini.
ILHAM2009bolehdianggapsebagaigagasandankesinambungan
usahamemupukjiwadanmindapelukissertapenghayatdalamusaha
menghasilkan,menghayatidanmendalamifalsafahsenidankeindahan
itusendiri.
ILHAMyangdianjurkanhampirsetiaptahundantelahdiperkenalkan
sejaktahun1987,menjadiplatformkepadawargaakademikFSSR
untukberkaryasertaberkongsipenemuandanpengalamanbaru
merekadisampingmengetengahkankepakaran,kreativitidalam
menyemarakkansenidanbudayaMalaysia.
http://www.ad.uitm.edu.my
ILHAM INSPIRASI
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ISSUE #02
Bertemu Salina 1: Gambar muka depan kateloge pameran
Arca, Najwa Zulkifi
Catan, Julia Mohd Zin Lai
BSLN
PROGRAMS ANDACTIVITIES
15
Arts,CultureandHeritageMalaysiaandNational
ArtGallery,Malaysiaandthepioneerproject
initiatedtogetherwithTheInternationalTradeand
Industry,isaquantumleapforustoallowforthe
development,engagement,appreciationandmutual
understandingofcrossculturalartandtraditions.It
offerstheopportunitytopromotebilateralexchange
anddisseminationofcrossculturalart.Withinthis
conduciveenvironment,innovativeandthrivingartistic
andculturalmindscanbenurturedandcontinually
developed
amongstthe
organisersandthe
audience.
Theaimofthis
exchangeis
tostrengthen
thebilateral
relationship
andprovide
communicational
andeducational
beneftstoparticipantsandaudiencesinboth
countriesbyincreasingculturalawarenessandrespect,
indirectlyenhancingculturalandartisticqualityand
understandingofbothcountries.
Thethree-dayexhibition,organisedbytheMalaysia
ExternalTradeDevelopmentCorporation(MATRADE)
withthesupportoftheDubaiChamberofCommerce
andIndustry,andDubaiExportDevelopment
Corporation,showcasesarangeofworld-class
professionalservicesfromMalaysia,especiallyservices
criticaltothesectorsseentobedriversofeconomic
andsocialchangeintheMiddleEast,NorthAfricaand
CIS.
MSE2009followsthesuccessofthefrstsuch
exhibitionheldinSharjahin2008,with168companies
representing11industryclusters.Thisyearsevent
isattendedbyover200serviceprovidersfrom13
clusters-construction,engineering,fnancialservices,
healthcareandhospital-relatedservices,ICT,oil&gas,
educationandspecializedtraining,energyandpower
generation,logisticsandtransportation,professional
services,franchising,designandart.
BeingitsmaidenparticipationwithMATRADE
with5otherMalaysianArtGalleries(RAFineArts,
ThreeHundredSixtyArtGallery,ArtSeni,CityArt
GalleryandEspiFineArtGallery)thisisIndeedanew
experienceustoparticipateintheMalaysiaServices
Exhibition(MSE).Goodcontactsweremadeoverthe
exhibition.However,thepotentialclientsforartinMSE
areverylimited,asthescopeofexhibitionweretoo
broad.Thus,itdidnotcaterspecifcallytoartlovers/
collectors,asthemarketforartisverymuchaniche
market.Therefore,visitingArtDubai2009gaveusart
opportunitytoidentifytheresponseanddetermine
howMalaysianartservicescancompetewithother
servicesinthisfair.
GLOBAL ART FORUM
TheNAGreconaissanceoftherestofDubaistarted
withtheGlobalArtForuminIslamicArtMuseumin
Doha,withastrongfocusonMiddleEastcultureand
itsinteractionwiththeinternationalartcommunity.
Morethansixtyoftheartworldsleadingpersonalities
gatherinDohaandinDubaiforthe3rdeditionofthe
GlobalArtForum.FirstlaunchedinMarch2007,the
GlobalArtForumbringstogetherartists,curators,
museumdirectors,andartprofessionalstodiscuss
pressingissuesthataffectarttodayandwhichwill
defneitsfuture.
Thisyear,fromthe18th-20thMarch,theGlobalArt
ForumreturnstoitshomeatArtDubaiforthreedays
dedicatedtolegendaryartists,collectors,curators
andflmmakersaswellassomeofthemostexciting
artprojectsfromaroundtheglobe.Onthefrstday
leadingmuseumdirectorsandcuratorsparticipating
theforumexaminedtherelationshipbetweenthe
publicandthemuseumthroughtopicssuchasBuilding
theMuseum,TheFutureoftheMuseumandCreating
Spaces:CulturalDevelopmentandArtPractices.Day
two,the18thMarch,issupportedbyDCAA(Dubai
Culture&ArtsAuthority),beginswithGoodMorning
Russiaanddiscusses
thevibrantandunique
artsceneinMoscow.Is
CollectingaStatement
oraCause?Moreand
morecollectorsare
shyingawayfromiconic
collectionsandare
workingactivelyhand
inhandwithartists,
curators,institutions
andothercollectors
tohelpproduce
worksofart,educationprogrammes,andmakingart
accessibletothepublic.DCAAalsopresented:Press
AnnouncementOpeningbytheUAEPavilionfor
the53rdVeniceArtBiennale.19thMarchandthis
washostedbyADACH(AbuDhabiAuthorityfor
Culture&Heritage).Theprogrammefocusedonkey
issuesthataredrivingtheprojectsoftheAuthority
forwardstartingwithContemporaryCultureand
LivingTradition.ThemissionofADACHisCultural
DiplomacyfromthePerspectiveoftheArabWorldas
aConstructiveConversationwiththeWest.Thefourth
day,20thMarch,beganwithBraveNewWorld:The
NewDealintheArtWorld.Inthecurrenteconomic
climate,artists,curatorsandcollectorshavetoseek
andsecurenewdealintermsofgettingsignifcant
artworksproducedandexhibited.Theharmonious
alignmentofpublicandprivateinitiativesarethe
essence,andthewaytheyareinitiated,managedand
communicatedwerekeysinrebuildingtrustintheart
world.

DuringtheoffcialvisitofH.E.DatoMuhammad
ShahrulIkramYaakob,AmbassadorofMalaysiainDoha,
Qatar,theNAGDG,DrMohamedNajibAhmadDawa
THE BEGINNING
TheideatopromotearttogetherwithMATRADEwas
initialisedbyTanSriMuhyiddinYassin,theMinisterof
InternationalTradeandIndustryatthattime,during
hisvisittolaunchTheArtExpoMalaysiainNational
ArtGallery(NAG)on11thNovember2008.Looking
backathowArtExpoMalaysiawasheldinMATRADE
andhadsecuredsalesandordersworthRM5.3million
within5days,itisclearthatMATRADEisthevital
platformtopromoteMalaysianArtinternationally.This
ideawasmaterialisedatMalaysianServicesExhibition
-MSE2009,17-19March,organisedbyMATRADE
inDubairecently.Thisshowwasanindicationof
howseriousNAGisinaggressivelypromotingartas
anothercommodityworthexporting.
HerExcellencySheikhaLubnaAlQasimi,UAEminister
ofForeignTradeandtheHonourableTanSriMuhyiddin
Yassin,theMinisterofInternationalTradeandIndustry
inMalaysiainauguratedtheMalaysiaServicesExhibition
(MSE2009).Theopeningceremonywasattended
bydiplomats,seniortradeoffcialsandprominent
businessmenfromGCCandneighbouringregion
aswellasMalaysiansincludingHisExcellencyDato
YahayaAbdulJabar,MalaysianAmbassadortotheUAE.

ThisprojectisfullysupportedbytheMinistryof
MALAYSIA ART
GALLERIES(MAG)
UNVEILS ART SERVICES SHOWCASE
IN MALAYSIAN SERVICES EXHIBITION
17-19 MARCH MSE 2009,
DUBAI, UNITED ARAB EMIRATES
lbyFaridahHanim
Dr Mohamed Najib Bin Ahmad Dawa Presented SUSURMASA to HH Sheikha
Lubna Al Qasimi, UAE Minister of Foreign Trade and being witmessed by YB Tan Sri
Mahyuddin Bin Yassin
Left to right: Nazli Aziz -Three Hundred Sixty, Ahmad Khairo Othman - EspiFineArt, Philip Wong,
ArtSeni; Chng Huck Theng, Member of Board of Trustees, NAG; Faizah Elis ThreeHundredSixty;
Norwina Binti Khalil RA Gallery; Norbaidah Ambak NAG; Norhafzah Ahmad Nasaruddin; Raja Ahmad
Aminullah Raja Abdullah; Dr Mohamed Najib Bin Ahmad Dawa DG of NAG; Faridah Hanim Abdul
Wahab NAG; Pojinn Sim City Art Gallery; Faisal Ghazali Three Hundred Sixty Art Gallery.
ISSUE #02
andMrChngHuckTheng,memberofBoard
ofdirectorpresentedthebookSUSURMASA.
Thediscussiontouchedonsomeissuesincluding
waystopromoteMalaysianartinDohainitiated
byhavinganArtreceptionintheEmbassyof
MalaysiainDohaintheendofthisyear.
DUBAI ART FAIR
LeavingDohaforDubaionthe16thMarch,we
arrivedandweregreetedbyMr.RajaIbrahim
RajaMamat,ViceConsulfromConsulategeneral
offceinDubai.Dinnerinvitationwiththe
delegationandMalaysianConsulGeneraland
hiswife,Mr.SyedMohdHasrinTengkuHussin
andotheroffcersatMadinahJumeirahBeach
Hotel.
Withtwo-thirdsofparticipatinggalleriescoming
fromabroad,ArtDubai2009hasstampedits
markasaleadinginternationalfair.Theevent
attractedseveralmajormuseumdirectorsand
facilitatedsignifcantnewcollaborationswith
regionalartcentressuchasDoha,Sharjah,
andAbuDhabi.Atthesametime,fewofthe
delegationmembers;ThreeHundredSixty,RA
FineArts,ArtSeniandCityArtGallerymanaged
tovisitTheSharjahBiennaleattheSharjahArt
Museumasapartofthevisitprogram.We
observedhowarthadbeencelebratedacross
Dubaithisweek,fromtheheritageareaof
BastakiyatoDIFCandtheMadinatJumeirah.The
mainhall,galleriesparticipatedrespondedto
thechallengesoftheworldeconomywithwell
consideredexhibitionsofexceptionalquality
confrmingtheresilienceandadaptabilityofthe
contemporaryartmarketbothinternationallyas
wellasintheMiddleEast.

Discovery was a crucial theme of
this years fair galleries brought
a wide range of new artists into
the market and collectors reacted
extremely positively to this mix of
new names and new works. Oliver
Watson, Chief Curator Museum of
Islamic Art, Doha.
TheMalaysiaGalleriesmustbeableto
participateinsuchinternationalartfair.Ithelps
topositiongalleryinternationallyandattract
newbuyers.Thisisthefrsttimewerealized
MalaysiaispotentialatArtDubai.Weare
impressedbythefactthatThreeHundredSixty
madetosales,onewasmadetoRoyalcollector.
TheartworksoldareRajaShahrimanRaja
AziddinandAbuBakarIdris.
MAGcouldhavedonewithafewmoresales
butconsideringthecurrentclimate,theresult
wasgood.Wemadewonderfulcontactsat
thisperfectlyrunexhibition.MAGconsidered
attractingnewclienteleindifferentindustries
whilemakingnewcontactsandbuilding
relationshipswithbuyersintheUAEandabroad.

Amongthenoteworthysalehighlightsfromthe
fairincluded:
NewYork-basedgalleryGoff+Rosenthals,
featuringpiecesbyIraqi-bornartist
AhmedAlsoudani,soldout
AthrGalleryfromJeddahsoldthe
majorityoftheirworksontheir
debutatArtDubai
Sfeir-Semlergallery,withbranches
inLebanonandGermany,sold
piecestobothAmericanmuseums
andEuropeancollectors
Beirut-basedAgialgallery,sold
morethan80%ofitspieces
BuyerstooktheirpickofAndy
Warholsdepictionofcars,sold
for$1.95million,photographsby
famousIranianartistShirinNeshat
formorethan$300,000,andaJulian
Opiepiecefor$62,000.Thisyears
event,whichransuntilSaturday,
bringstogetherarecord68
participatinggalleriesfrom28countries,
andthousandsofartlovers.

MAGshouldgetabetter/prominent
areaandcoverageasitcanleadtoa
biggerexposureandcanassociateitself
withamorecrediblevisitorsstarted
withparticipationintoMSE2009.Itis
signifcanttohaveourownMalaysianArt
Fair.Thisyearforinstance,bothTokyo
andHongKongwilllaunchnewevents
modeledalonghipfairssuchasArtBasel
andLondonsFrieze.Inthefaceofa
possibleinternationaldownturninthe
fnancialmarkets,theglobalartmarketis
lookingtotheemergingmarketsofthe
MiddleEastandAsiatokeepitfuelled.The
galleriesrespondedtothechallengesof
theworldeconomywithwellconsidered
exhibitionsofexceptionalquality
confrmingtheresilienceandadaptability
ofthecontemporaryartmarketboth
internationallyaswellaslocal.
Indeed,artgallerieshavemushroomed
inDubaiandahealthycompetition
hasdevelopedwithAbuDhabi,which
isbuildingfveartandculturecenters
onSaadiyatIsland.Thosecenterswill
includeabranchoftheLouvreandthe
Guggenheim,withbuildingsdesignedby
leadingarchitectsincludingFrankGehry.
Thus,tohaveourowninternational
artfair/expoinMalaysiaiscrucial.
NAGislookingatthedevelopmentaspects
ofinternationaltradeinculturalindustries
particularlyvisualart.Thecontemporary
artsceneisbooming,andDubaiiswell
positionedtocapitalizeonthisboom.Thereis
agrowinginterestfromcollectors,bothprivate
institutionalandcorporate,whorealizethat
art,atleastinthisregion,isprotectedfromthe
fnancialwoes.Thisenablesmorelocalgalleries
toparticipateinaninternationalartplatform,
helpingthemtobuildtheirgalleriesreputation.
Insteadofourgalleriesexhibitingabroadwith
hugeexpensesinvolved,foreigngallerieswilltake
upboothsinourMalaysiaartfair/expo.Thisalso
helpsinattractinginternationalartcollectors
andmediatoourcountry.Withthat,ourname
intheinternationalartsceneisbuilt.Thefacts
that,Dubai,theGulf scommercialheart,is
increasinglyattractingcontemporaryartists,
especiallyfromneighboringIranandSouthAsia,
asexhibitionvenuesmultiply.Zeroimportand
exporttaxesforart,andafreefowofcapital
hasalreadypoisedtheEmiratetobecomea
possiblerivaltoHongKong,theworldsthird
mostimportantartauctionhubafterNewYork
andLondon.InternationalartfairsinAsiaand
theMiddleEasthavehelpedfueldemandfor
modernart.Inthecontemporaryworld,anew
developmentparadigmisemergingthatlinks
theeconomyandculture,embracingeconomic,
cultural,technologicalandsocialaspectsof
developmentatboththemacroandmicrolevels.
Centraltothenewparadigmisthefactthat
creativity,knowledgeandaccesstoinformation
areincreasinglyrecognizedaspowerfulengines
drivingeconomicgrowthandpromoting
developmentinaglobalizingworld.Creativity
inthiscontextreferstotheformulationof
newideasandtotheapplicationofthese
ideastoproduceoriginalworksofartand
culturalproducts,functionalcreations,scientifc
inventionsandtechnologicalinnovations.Thereis
thusaneconomicaspecttocreativity,observable
inthewayitcontributestoentrepreneurship,
fostersinnovation,enhancesproductivityand
promoteseconomicgrowth.ArtDubai2009saw
consideredbuyingfrombothestablishedand
newcollectors,whilemakingnewcontactsand
buildingrelationshipswithbuyersintheUAE
andabroad.
TheconclusionwhichcanbedrawnfromArt
Dubai2009isthatthereremainsarobust
appreciationinthemarketforartworkofthe
highestquality,withproposedartfairsuchas
oursenablingMalaysiangalleriestointroduce
newartistsandfosterthedevelopmentofnew
collections.
Nonetheless,accordingtotheorganizer,MSE
2009-thebiggestshowcaseofMalaysian
servicesoverseaswillserveasabroad
platformforsourcingandnetworkingforservice
Abu Bakar Idris, Taman Syifa - Manis di Hujung Pahit, 2009, Mixed media on canvas, 61 x 76cm
Raja Shahriman Raja Aziddin, Nafas 31, 2004 , Metal, 71 x 63 x 28cm
ISSUE #02
16
With Datuk Sharil Ikram, The Ambassador of Malaysia
di Doha Qatar.
providersfromMalaysiaandtheirpotentialpartnersinthe
targetedmarkets.Theexhibitionhasalreadyattractedvisitors
fromUAE,SaudiArabia,Qatar,Kuwait,Oman,Iraq,Syria,
Jordan,Yemen,Lebanon,Bahrain,theNetherlands,theUK,
Italy,India,Pakistan,Bangladesh,KenyaandSouthAfrica.
RapiddevelopmentinMalaysiaandprudentinvestmentbythe
governmentininfrastructuredevelopmentandhumancapital
hadproducedmanyleadingplayersinthecountrycapableof
providingworld-classprofessionalservicesindiversesectors.
Thisdevelopmentrealisingvisualartindustrymustplaya
greaterroleinpromotingartininternationalmarket.
Application is open to galleries and artists to participate in the Art Dubai 17 - 20th March 2010.
For furthur information please contact Laura Trelford: laura@artdubai.ae or visit www.artdubai.ae
Andy Warhol artwork sold AED 1.95 million during Art Dubai Fair Another installation work in Baskatiya Art Fair ( BAF) Dubai. UEA
Dubai International Finance Centre - DIFC
Memberi keistimewaan, peluang dan informasi
terkini kepada para pelukis tanahair untuk
melibatkan diri sepenuhnya dalam bidang seni
supaya tidak merasa terpinggir. BSLN sebagai
tunggak warisan seni negara terpanggil dan
bertanggungjawab untuk memberi faedah
yang menarik kepada mereka yang mendaftar
sebagai keahlian pelukis BSLN.
Perasmian Kad Keahlian Artis
(Artist Membership Card)
31 Mac 2009
Program Merakyatkan Seni
(PMS) Sandakan, Sabah
7 - 8 Mac 2009
Mengambil pendekatan memperkasakan
perpaduan bersama masyarakat di Sandakan,
Sabah sempena PMS yang telah memberi
peluang kepada Balai Seni Lukis Negara (BSLN)
untuk melibatkan diri dalam pengisian program
dengan mengendalikan aktiviti Graffti Art
bagi membuka mata dan mengubah mentaliti
masyarakat terhadap seni graffti bukan sebagai
satu vandalism.
Iskandar Malaysia
Contemporary Art Show
(IMCAS) Johor Bahru
21 Mac Jun 2009
Pameran ini telah mengambil alih hampir
keseluruhan ruangan tingkat 4 Danga City Mall
dengan memaparkan karya-karya kontemporari
pelukis Malaysia. BSLN berperanan dalam
membantu IMcas 09 dengan menyediakan
kepakaran penulisan kuratorial, khidmat
kepakaran pameran, tenaga kerja dan juga
logistik. BSLN juga telah membuka Booth
Jualan dan promosi bagi menunjukkan
keberadaan BSLN dalam menyokong program
ini.
17
Mempamerkan sebilangan karya seni visual
dari Koleksi Himpunan Tetap BSLN berjumlah
22 karya yang telah diangkat sebagai Daftar
Warisan Kebangsaan 2009. Antara karya yang
dipamerkan ialah karya oleh Abdullah Ariff
yang bertajuk Bumi Yang Bahagia Lombong
Bijih Timah Malaya, karya Frank Swettenham,
Batu Serlin-Pahang River, karya Datuk Chuah
Thean Teng, Perairan Pulau Pinangdan banyak
lagi. Melalui festival ini, para pelajar sedikit
sebanyak dapat mempelajari dan mengetahui
serba sedikit mengenai karya-karya yang telah
diangkat sebagai Daftar Warisan Kebangsaan
2009. Turut dijemput bagi memeriahkan
program ialah dua pelukis tanahair iaitu S.
Amin Sahab dan Azmi Mambo yang membuat
demonstrasi lukisan.
Pameran Seni Visual sempena
Festival Pengajian Melayu,
Universiti Melaya
13- 15 Mac 2009
BSLN Publication
18
POSTER PAHIT
MANIS : POSTER
GRAPHIC
EXHIBITION
2002
Mempertingkatkan
kefahaman tentang
senireka dan
proses-proses rekaan
yang berkait rapat
dengan fungsi dan
penggunaannya
dalam seni tampak.
20 x 15.4 cm
56 m/s
43 colour plates
2002
ISBN 983-9572-55-5
RM 20
SERAMIK
KONTEMPORARI
ASIA &
SELSIUS 2007 /
INTERNATIONAL
CONTEMPORARY
CERAMIC
EXHIBITION ASIA
CERAMICS
NETWORK &
SELSIUS
Menghimpunkan
ciptaan artistik seramik
kontemporari masa
kini oleh pereka lama
dan baru termasuk
pengkarya seramik
terkemuka dari negara
Jepun, Korea, China,
Vietnam, Thailand, Rusia,
Taiwan, India, Singapura
dan Malaysia.
23 x 23 cm
158 m/s
108 colour plates
2007
ISBN 978-983-3497-20-1
RM 50
POSTER KHAS DATUK
CHUAH THEAN TENG
Himpunan 12 karya terpilih
oleh Datuk Chuah Thean
Teng.
45 x 31cm
2008
RM 70 (6 karya 1 set)
TENG : SATU
PENGHARGAAN / TENG :
AN APPRECIATION
Datuk Chuah Thean Teng
adalah seorang pelukis yang
banyak berjasa kepada tanahair
perkembangan senilukis tanahair
terutama lukisan yang bercirikan
batik.
28.7 x 25 cm
157 m/s
136 colour plates
2008
ISBN 978-983-3497-31-7
RM 100
SUSURMASA-SENILUKIS
MALAYSIA BERSAMA
50 TAHUN BALAI SENI
LUKIS NEGARA
TIMELINES-MALAYSIAN
ART WITH 50 YEARS
NATIONAL ART GALLERY
Susurmasa merupakan suatu
projek susurgalur kewujudan
seni viisual tanahir dan disusun
khas sempena sambutan ke 50
tahun BSLN. Buku ini mengadungi
esei dan penulisan mengenai
susurgalur seni visual mengikut
tema tertentu seperti Pra
Sejarah, Empayar Pelayaran dan
Perdagangan, Warkah Berlukis,
Jelita Malaya, Karya Ikonik dan
Kontemporari dan Ide Baru.
28 x 24 cm
307 m/s
221 colour plates
2008
ISBN 978-983-3497-24-9
RM 100
SENIKINI ISU#01
Majalah berwarna yang
mempromosikan aktiviti
seni semasa. Diterbitkan 6
kali setahun. Boleh didapati
secara percuma di BSLN.
39.8 x 28.5 cm
20 m/s
2009
ISSN 1985-7233
PERCUMA
BAKAT MUDA
SEZAMAN 2006
Memaparkan
karya-karya dari
Pertandingan Bakat
Muda Sezaman (BMS)
2006
25 x 18 cm
48 m/s
27 colour plates
2008
ISBN 978-983-3497-21-8
RM 30
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my
TO ADVERTISE IN PLEASE EMAIL TO...
norazmah@artgallery.gov.my

THE LIGHT SHOW 2009
The Annexe, Central Market KL
16 April 3 May 2009 (open11am 7pm daily)
03-20701137; jerome@annexegallery.com
INDONESIA...GOES POP BY DIPO ANDY AND GALAM ZULKIFLI
Avanthay Contemporary Asian Art Gallery, Zurich, Switzerland
17th April 30th May 2009
www.avanthaycontemporary.com
The Light Show 2009 presents an assortment of lights and light installations made from
recycled/found objects to humour, cajole and inspire. Exhibitors include Bernard Chauly,
Carolyn Lau, Fabian Tan, Farah Azizan, Jazmi Izwan Jamal, Lisa Foo, Loh Kok Man, Mah Su
Sim, and Richard Lau. Inspired and motivated by their respective interests and disciplines,
the participants of TLS09 are bound by the commitment to be greener and kinder to our
environment.
The British artist Richard Hamilton recognized as founder of the Pop Art defned this
style of art in 1957 as follows: Pop Art is: Popular (designed for a mass audience), Transient (short
term solution), Expendable (easily-forgotten), Low cost, Mass produced, Young, Witty, Sexy, Gimmicky,
Glamorous, Big BusinessThis is just the beginning More than 50 years later two young Indonesian
artists pick up the defnition of Hamilton. In their art Dipo Andy and Galam Zulkifi are adopting the
techniques, visual strategies and concepts of Pop Art. It is the frst time that these artists which belong to the
Top 10 Southeast Asian artists will be shown in Europe.
Michal Macku is a Czech photographer who creates his works using his own photographic
technique named Gellage - a discovery that has cemented his name in the history of contemporary
photography. The technique Gellage consists of the transfer of exposed and fxed photographic
emulsion onto paper. This transparent and plastic material makes it possible to reshape and reform
the original images, changing their relationships and endowing them with new meanings during the
transfer. This will be the frst time that Michal Macku will be showing in Malaysia and Asia.
GLASS (AND) GELLAGES BY MICHAL MACKU
Wei-Ling Gallery, Brickfelds, Kuala Lumpur
6th 30th April , Mon - Fri: 12noon - 7pm; weekends by appointment.
03-2260 1106/07; 012-302 5302
http://www.weiling-gallery.com
CADANGAN-CADANGAN UNTUK NEGARAKU BY LIEW KUNG YU
Galeri Petronas, Suria KLCC
21 April 14 June 2009 (Tue - Sun: 10am - 8pm; closed on Mon)
03-2051 7770
http://www.galeripetronas.com
Veteran multidisciplinary artist Liew Kung Yu has been pushing the boundaries of
contemporary Malaysian photography for many years. He was trained as a Graphic
Designer but established his reputation for working with various media such as installation
and performance art. Kung Yu has designed for theatre and dance performances and has
exhibited his photography works in group and solo shows both locally and abroad.
For this latest series of works titled Cadangan-Cadangan Untuk Negaraku, (Proposals for
my country) Kung Yu drew his inspiration from the numerous public sculptures, monuments
and decorations found throughout Malaysia. From the giant Pitcher Plant at Dataran
Merdeka to the bunga raya fountain in Malacca, Kung Yu constructed and assembled four
large-scale photo collages of various public sculptures made up from the photographs
he took from travelling around the country. These elaborate and complex vistas celebrate
national achievements and extravagant monuments while presenting to us the artists vision
of what our nation could look like in the future. These laboured works, like pages from a
pop-up book, are beautifully constructed from layered motifs of kitsch in colourful displays
of whimsy and humour.
Playful, theatrical, kitsch and strangely beautiful, Kung Yus work examines both the
aesthetic choices of our built environments as well as the relationship between urban
communities and the space that they inhabit.
To fnd out more, see the interviews with Rahel Joseph, project coordinator of the exhibition
and Liew Kung Yu at www.senicast.com
WHATSON
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my
BITUMANIA PAINTING
WITH BITUMEN
PaceGallery,PetalingJaya
8-26April,11am-7pm
03-79546069
AhmadZakiiAnwar,JailaniAbuHassan,HamirSoib
andAhmadFuadOsmanarefourofMalaysiasleading
contemporarypainterswhoarecomingtogetherin
thisshowwithpaintingsoncanvassolelyproduced
inBitumen.Bitumenisablack,oily,viscousmaterial
thatisanaturally-occurringorganicbyproductof
decomposedorganicmaterials,alsoknownasasphalt
ortar.Theearliestknownuseofbitumenisaround
40,000yearsagoitwasfoundadheringtostonetools
usedforconstructionofbuildingsandwaterproofng
ofreedboatsinSyria.Usedforpaintingbythinning
itwithturpentineitisunlikeoilsinthatitdriesto
touchinafewhours,andcuresindays.Afteritsdry,
youcanrewetitwithturpentineandliftoff.
EXPRESSION 2009
GaleriSeniMutiara,Penang
12th28thApril2009,11am6pm
04-2620167,016-4440167
FROM ONE EARTH II-
WATER IN NATURE
WismaKebudayaanSGM,
JalanBukitBintangKL
19thApril3May2009,
11am-6pmdaily
03-21412003
www.sgm.org.my
3D TO 2D SCULPUTRE STUDIES
PelitaHatisHouseofArt,BangsarKL
15thApril6thMay2009,Mon-Sat,
10am6pm
03-22848380,phati@streamyx
www.pelitahati.com.my
REFLECTION: WORKS
BY HOE SAY YONG
AlphaUtaraGallery,GeorgeTownPenang
25thApril24thMay,10am6pm,closedonMonday.
04-2626840,art@alpha-utara.com
IN LOVE OF MAKKAH WE MEET - CALLFORPARTICIPATION
The City of Makkah Al-Mukarammah, has announced an open invitation for all Muslim
artists to participate in the mural painting competition.
The deadline for receiving the designs is 15.5.2009
More information on this competition can be found in website : www.mbp.org.sa
Tel : 02558 4600 Fax : 02557 5010 P. O. BOX : 6655 Makkah

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