Malaysian art now

>24th ASIAN IINTERNATIONAL

NTERNATIONAL

ART EXHIBITI
ON
EXHIBITION

>THE
H

MIND
D AND ART
R
>CROATIA
CONTEMP
CONTEMPORARY
ARY ART

>AEM3
EM3 DEFIES ODD,
A BIGGER
R SUCCESS
>PERTANDI
PERTANDINGAN
R
NGAN
SENI TAMPAK TERBUKA
T RBUKA JOHOR 2009

C O N T E N T S

Editor

inc.

THE yearend is before us, and soon. We have been so busy with our host of
activities in the Balai and outside with our friends and partners in promoting
and developing art, as well as in overseas programmes, that we hardly
noticed. But there is never a moment of ennui. The Balai staff members should
be commended for their tireless efforts in seeing to the success of all our
programmes and activities, in making all our gallery spaces active and exciting
all the year round. Even as the annexe building is coming up, we try to find
creative uses for our existing spaces like the rebranding of the Reka Gallery as a
space for design and emerging visual arts exhibitions. It has been a hectic year
with the biggest challenge being the blockbuster Syed Ahmad Jamal : ARTIST
exhibition where new standards and exhibition parameters are set.
We had three major foreign exhibitions involving Croatia, Cuba and South
Korea, and November was a tripleheader with our joint involvement in the
Third Art Expo Malaysia, The 5th Asian Museum Curators Conference and the
24th Asian International Art Exhibition, which were both an unqualified success.
These are in line with our policy to support in various forms constructive,
meaningful and impactful activities outside of the Balai not only in promoting
and creating greater awareness of art, but also raising the bar in art development
and showcasing Malaysia as an arts and cultural hub.
All these, and more, are covered in this issue of
. We also drop in at the
galleries and fringe spaces to check out the versatile ceramic artist Umibaizurah
Mahir and the enigmatic Aswad Ameir, and whatdoyouknow a newly opened
Art Lives Gallery and the Li Chi Mao Art Centre in Malacca! Then, to hoot,
Bennylita Nasuty Ramlee makes the ReCover Artist page. We end the year with
the enBLOC exhibition, a fine visual documentation of heritage technology in
printing blocks, video and batik textiles and a unique Creativity and Innovation
Camp in Penang entitled CreaNova. Even as we unravel the loose ends and close
the book for the year, we are already busy preparing for the major programmes
of the next year, including a sixmonth itinerary for Malaysias participation in
the World Expo in Shanghai from May to October, and the Malaysia Week arts
and cultural fest in Paris.
We are constantly finetuning the components and contents of
to make
it more inclusive, reflective and informative besides it being more accessible to
all. To all we wish you a Salam Maal Hijrahm, Merry Christmas and
a Happy New Year 2010.

04

08
14

10

11
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15
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18

FEATURES
24th Asian International Art Exhibition: Manifesting
Diversity in Asian Contemporary Art

SHARINGS
The Mind and Art
Li Chi Mao

RE-COVER ARTIST
Bennylita Nasuty Ramlee

EXHIBITION REVIEWS
Contemporary Croatia Drawing Presented to the World
3rd Art Expo Malaysia: AEM3 Defies Odd, A Bigger SuccesS
Hybrid: Umibaizurah Mahir Solo Exhibition
The AIAE has comes of age
Pertandingan Seni Tampak Terbuka Johor 2009

HIGHLIGHTS
Malaysia Open Auction
Point Blank
Lukisan Potret DiRaja Dalam Proses

OPPORTUNITIES
USA by Designers

17

BSLN Programmes and Activities

22

BSLN PUBLICATION

23

WHATS ON

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

Dr. Mohamed Najib Ahmad Dawa

Editor-In-Chief

w w w. a r t g a l l e r y. g o v. m y
l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING
EDITOR Chng Huck Theng l EDITORS Zanita Anuar & Ooi Kok Chuen l
DEPUTY EDITOR l Wening Cheah & Hashimah Nyok l CONTRIBUTORS
/ WRITERS Dr. Choong Kam Kow, Edwin Ooi, Tatjana Carey-Maruna,
Zainol Abidin B Ahmad Shariff (ZABAS), Hasnul J Saidon, Suraya Warden
and Ooi Kok Chuen l DESIGN Nuzaihan Mustapa & Shamizar Rahim l
PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l
can be accessed at www.artgallery.gov.my/senikini
Any feedback and comment please email to us at:
wening@artgallery.gov.my
The publisher, National Art Gallery Malaysia,
holds the copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.

ABSTRAK
1950an
Koleksi Najib Dawa
(Awang Isa)

All Rights Reserverd.

Copyright2009 SENIKINI Malaysian Art Now
Printed in Malaysia.

GALERI GALLERY

REKA
1 2. 12. 2009
2 2. 02. 2010
Balai Seni Lukis Negara
National Art Gallery Malaysia

Pameran
adalah
sebuah wadah persembahan batik
yang teristimewa. Dalam mendirikan
sebuah pameran batik sebagai
pengisian kepada Kuala Lumpur
International Batik Week 2009,
Kementerian Penerangan Komunikasi
dan Kebudayaan melalui Balai Seni
Lukis Negara (BSLN) terpanggil untuk
mengambil peranan selaku peneraju
pembangunan seni visual Negara
untuk mencetus inspirasi kreativiti dan
inovasi menerusi kesinambungan
tradisi.
Kali ini ianya dizahirkan menerusi
pameran pengenalan semula
terhadap blok batik dengan
menyerlahkan ciri reka bentuk dan
teknologi seni batik itu sendiri.
Ungkapan sebegini adalah unik dan
penting supaya suatu bidang seni
budaya diwartakan ilmu teknologinya
khususnya proses dan skema
pengolahan bentuk diterangkan dan
didokumentasikan.
BSLN juga akan menyumbang dan
memperkayakan pengkalan data
budaya dengan berkongsi data motif
blok yang dikumpulkan sehingga 500
blok dari institusi dan para kolektor,
Kelantan dan Pulau Pinang termasuk
Institut Kraf Negara, Galeri Yahong dan
Lyanne Batik. Kesatuan hasrat semua
pihak yang mendokong cita murni
dalam menzahirkan kesinambungan
seni dan budaya sebegini amat
dihargai dan diharap akan
dimanfaatkan berterusan buat
generasi masa hadapan.

is a unique
batik exhibition. This exhibition is
poised to complement the Kuala
Lumpur International Batik Week
2009, of which the Ministry of
Information,
Communication and Culture is a
patron of and is represented by
the Balai Seni Lukis Negara(BSLN).
The BSLN, an institution responsible
for the development of visual arts
in this nation aspires in this
showcase to inspire creativity and
innovation while celebrating the
continuity of our cultural
traditions.
This is realised in this refreshing
exhibition and installation of batik
block,or batik stamps. The display
highlights the design and
technology of batik as an
artform. The presentation revivifies
the unique traditional scheme
and process in batik that should
be continuously appreciated,
documented and elevated to a
wider audience.
BSLN will also share over 500 block
motifs made available through
the kind sharing by collectors
from Kelantan to Pulau Pinang
including the Institut Kraf Negara,
Lyanne Batik and Yahong Gallery,
in the form of a database so it
may be accessed by others. This is
indeed a commendable
collective effort that must
continue to enrich the creative
individuals of the future
generations.

Perbadanan
Muzium Kelantan

04

TH

24
FEATURES

ASIAN
INTERNATIONAL
ART EXHIBITION

MANIFESTING DIVERSITY
IN ASIAN CONTEMPORARY
ART - NATIONAL ART GALLERY
20.11.2009 - 31.01.2010

THE

24th Asian International Art Exhibition (AIAE)

now being held at the National Art Gallery
saw the highest attendance of participants on opening
day with some 125 artists and delegates present on
November 20.

The grand opening was officiated by Senator Heng Seai

Kie, the Deputy Minister of Information, Communication
and Culture.
A total of 208 works are on display over two gallery
spaces. They are from China (20 works), Hong Kong (15
works), Indonesia (10 works), Japan (20 works), South
Korea (20 works), Macau (10 works), the Philippines (9
works), Singapore (10 works), Taiwan (20 works), Thailand
(10 works), Vietnam (19 works) and host country Malaysia
(45 works). Besides paintings of various media, there are
prints, sculptures, installations, animation, video and new
media presentations.

l by Dr. Choong Kam Kow

With the theme, Asia@Asia: Manifesting Diversity, the 24th

AIAE held a three-day cultural activity from November 20
and it included a forum held on November 21. The forum
discussed at great length the influences on art by the
inevitable changes of cultural practices, social structures
and ways of life of the diversified Asia in the process of
globalization in the Information Age.
The topics were Artistic Issue in Asian Consciousness and
Asian Nations (Prof. Zou Yuejin, China), A Reappraisal
of East Meets West (Eddie Lui, Hong Kong), Art Medium
Discourse in Indonesian Contemporary Art (A. Rikrik
Kusmara, Indonesia), Ordinary Objects And Beyond
(Prof. Lee Na Kyung, South Korea), Art And Society In the
Midst of Globalization (Ma. Victoria Ambie Abano, the
Philippines).
The delegates were also taken on visits to Galeri
Petronas, art galleries in Starhill, cultural sites and the
3rd International Art Expo Malaysia held at the Matrade
Exhibition and Convention Centre.
This years theme is aimed at promoting Asian
contemporary art through the expression of diversified
cultural characteristics and social conditions of the
various participating countries. It is also to foster artistic
exchanges and cultural understanding among the
participating countries. In line with the theme, the styles
and approaches of works vary from country to country
reflecting a cross-section of art practices.
The AIAE managed under the Federation of Asian Artists
(FAA) was first held in Seoul, South Korea, in 1985. It was
later held annually in Japan, Taiwan and other member
countries by rotation. In the past 24 years, the AIAE has
developed from strength to strength and is now regarded
as an important international art exhibition making
significant contributions towards the development of
contemporary art of Asia and the promotion of artistic
exchanges among the participating countries.
The visual thinking and expression of the FAA artists
have over the years continued to evolve and mature
in encouraging directions. Each year, new approaches
and styles of visual expression emerge as a result of self
exploration and interaction with fellow artists.
With the collaboration of the FAA Malaysia Committee,
the National Art Gallery has successfully hosted the 5th
and 13th AIAE in 1990 and 1998 respectively. Malaysia
has taken part in the AIAE since 1988.
As a major art exhibition in Asia, the 24th AIAE has
attracted and received many important works by
leading artists from the participating countries.
From China, they are Zuo zhengyao (Secret of the King
- ink & colour on paper), Tian Ye (Scenary Series 31 - oil
on canvas) and Shi Jiangguo (Sisters - ink & colour on
paper). The Chinese submission is dominated by oil,
acrylic and ink/colour paintings reflecting contemporary

CHINA-Liang Chang Sheng, Elysium World No. 5,

Propylene on canvas, 156 x 56cm, 2008

MALAYSIA - Juhari Said, OKIR No:30, Wood and oil, 102 x 53 x 8cm, 2009

visual languages and formal approaches. The work by

Tian Ye shows great innovation by introducing invented
new signs into the signposts commonly found in Tian An
Men Square and elsewhere in China.
From Hong Kong, they are Eddie Lui (Going Forward
- mixed media), Steven Lam Woon-Cheong (Peach
Blossom - mixed media) and Rosanna Li with her seated
plump ceramic figurines (The New Prayers stoneware),
each engaged in playing with digital communication
devices, looking casual and amusing. The Hong
Kong presentation reflects the general post return
consciousness in the new pursuit of visual art which shows
an increased influence of Chinese contemporary art.
The Indonesian artists led by Setiawan Sabana put
up objects dominated by installation, animation and
paintings. Setiawan has aptly presented the installation
in such a way that it provokes the viewers to ponder,
wonder and imagine about his implied message.
The leading artists from Japan are Norito Udagawa
(Heart - oil & tempera) who still indulges in grinding
and fixing his own tempera colour, Motoharu Furumoto
(Backyard 0953 - digital print) and Yoko Mitsuyuki (World
of Blue IV - oil). The Japanese submission represents a
cross-section of the Kyushu approach in art practice
which is closely associated with the Fukuoka Asian Art
Museum.

05

FEATURES

PHILIPPINES - Salida, Untitled, Acrylic mixed technique on canvas, 91.5 x 152.5cm, 2009

The dominating feature in the Korean submission is hardedge and minimalism which reflects
a great deal of intellectual
thinking and formal
precision. The leading
artists are Kim Bong
g
Tae (Dancing
Box 2008 acrylic),
Ryu Hee
Young
(2008
V - oil), Lee
Na Kyung
(Landscape
With Red Paper Flower - oil ) and Kim Tae Ho (Internal
Rhythm 2008-28 - acrylic on canvas). Kim Tae Hos canvas
built up with acrylic layers by layers, is so structurally
constructed and precisely rendered with colours that it
offers great visual sensations to the viewers.
From Macau, they are Tong Jiang Ying (Lettering on
Colour Block - ink) and Tong Chong (Kiting -mixed
media). After a decade of Macaus return to China ,
the influence of mainland China artists on the Macau
contemporary art is obvious.
From the Philippines, they are Ramon Orlina (Adam & Eva
in Paradise - glass), Ben Cabrera (Anxiety - acrylic) and
Virgillio Aviado (Parthenogenesis - acrylic). The Philippines
presentation mirrors the strength and characteristics of a
very significant crosssection of contemporary art there.
From Singapore, they are Goh Beng Kwan (Golden Land

HONG KONG Rosanna Li, The New

Prayer, Stoneware,
18 x 20 x 50cm, 2009

KOREA - Kim Tae-Ho, Internal Rhythm 2008-28, Acrylic on canvas,131 x 131cm, 2008

- acrylic), Lin Choon Jin (Over The Reed - ink)

and Leo Hee Tong (Waiting by the Bay acrylic). The presentation aptly reflects the
multiplicity of approaches as the central core
of artistic engagement originated from the
Modern Art Society of Singapore since the
1960s.
The leading artists from Taiwan are Koo
Chung Kuang, (Twelve Big Persimmons - oil),
Lee Shi Chi (Ink taker - ink on paper), Dino Tsai
(Bar Coding - oil) and Liu Xian Zhong (Living
Large oil on canvas). The Taiwan submission
is diversified in subject matter and styles of
expression which is seen as a reflection of the
visual engagements and approaches of the
third and fourth generation artists.
From Thailand, they are Thongchai
Rakpathum (Aesthettic No. 27 - acrylic),
Wittawon Niwattichai (Dear Moon Series - oil),
Chalernsak Radanachan (Celestial Black
Wave - oil) and Prathak Pragivinitjpan (The
Conversation of Body and Mind wood
sculpture). The works are well executed and
reflect Thai sensibility and manifestations.
Thongchai has moved further to combine
geometric shapes with his predominant free
and organic forms created through marbling
techniques. Wittamons Bag series is intriguing
with feminine overtones.

MALAYSIA - Sabating Ev Baron Kampiau, Beads, Acrylic on canvas,

150 x 150cm, 2009

Said (Okir No. 30 wood & oil), Kelvin Chap Kok Leong
(S-Eleven 3 - mixed media), Long Thien Shih (Lets Joy
Together acrylic), Mad Anuar Ismail (Pahlawan No.
4 steel sculpture), Normah Nordin (Nose Pulled by the
Ox installation), Raphael Scott Ahbeng (Bidi Landscape
acrylic), Tajuddin Ismail (Passage 2, 3, 4 - charcoal &
pastel), Zulkifli Yusoff (Sedangkan Lidah Lagi Tergigit installation). The range of artists and artworks displayed
manifests the diversity of Malaysian art.
The exhibition ends on January 31, 2010.

The Vietnamese leading artists are Nguyen

Xuan Tiep, Dang Anh Tuan (Mask - oil) and
Tran Dinh Khuong (Long Bien Bridge - lacquer
on wood). There are lacquer works by four
artists and this has given additional artistic
flavour to the show.
Malaysia has invited 73 artists comprising
senior, mid-career and emerging artists of
whom 45 have accepted to take part. The
notable ones include Bayu Utomo Radjikin
(Intintyx acrylic), Awang Damit Ahmad
(Iraga Garis Mega - mixed media), Hasnul
Saidon (Want Malaysia? collaborated
installation with a team of students), Juhari

MALAYSIA - Choong Kam Kow, Fit for Life - XI (Taiji), Acrylic on canvas, 122 x 152cm, 2009

MALAYSIA - Long Thien Shih, Lets Joy Together, Acrylic on canvas, 176 x 134cm, 2009
Images courtersy : AIAE

FEATURES

06

TAIWAN - Koo Chung-Kuang, Twelve Big Persimmons, Oil on canvas, 130 x 97cm, 2009

JAPAN - Udagawa Norito, Heart, 112 x 145.5cm

ART FORUM
Asis@Asia: Manifesting Diversity
In conjunction with the 24th AIAE, an art forum entitled Asia @ Asia : Manifesting Diversity was held at the National Art Gallery on 21
November 2009. The forum discussed at great length the influences on art by the inevitable changes of cultural practices, social
structures and ways of life of the diversified Asia in the process of globalization within the information age. Six representative speakers
from participating countries presented their views on the current state of visual art in their respective countries. Listed below are the
papers presented in the art forum :

TOPIC

SPEAKER

COUNTRY

Keynote Address

Dr. Mohamad Najib Mohamad Dawa

Malaysia

Artistic Issue in Asian Consciousness

and Asian Nations

Prof. Zou Yuejin

China

A Reappraisal of East Meets West

Mr. Eddie Lui

Hong Kong

Art Medium Discourse in Indonesian

Contemporary Art

Mr. A,Rikrik Kusmara

Indonesia

Ordinary Objects And Beyond

Prof. Lee Na Kyung

Korea

Ma. Victoria Ambie Abano

Philippines

Art And Society In the Midst of

Globalization

CHINA- Tian Ye, Scenery Series 31, Oil and propylene on canvas, 161 x 132 cm, 2008

The presentation of papers was very much enhanced and enliven by slide shows of art works from the presenters countries.

Let us balance the ASIAN JOLTS

by taking stock of :
1. And ensure that there will be sustained discourse on
Asian visual art where we an further encourage and
advance art scholarship in Asian art.
2. There should be critical assessment of the
mounting influence of Asian contemporary art in the
dissemination of national identities.
3. The changing identities and multiple roles in the art
system and the art industry.
4. The questioned not asked by us is introduction
of technology into art and our life despite their
importance, Naisbitt. John.2006 .. is the
consequences of our relationship with technology are
not given much consideration. It is our most
unexamined relationship. With the advent of a new
technology, questions need to be asked :
- What will be enchanted?
- What will be diminished?
- What will be replaced?
- Dr. Mohamed Najib Ahmad Dawa

>>COLLECTING
ECTING IS A
PASSION
ASSION
one
e would say an
addiction and
the only cure is more...>>

MALAYSIAN OPEN AUCTION &

FASHION GALA

We invite you to savour...

Auction& Fashion Gala
February 2010

ENQUIRIES AND
TABLE RESERVATIONS
Shidah / Wening
T >>603 4026 7000<<
E >>rashidah@artgallery.gov.my
wening@artgallery.gov.my<<
>>KUALA LUMPUR
NATIONAL ART GALLERY
2 JALAN TEMERLOH OFF
JALAN TUN RAZAK
53200 KUALA LUMPUR<<

Art Auction Viewing

2 February 2010

>>

08

SHARING
EXHIBITON
REVIEW

When

you first encounter

Phillip Wongs The
Human Mind, it is an outdoor sculpture
of aluminium strips entwining and
coalescing to form a human figure. In its
rather abstract figurative form and striking
use of a single tone of red, you wonder
what the artist is trying to tell the viewer.
At first you dont really get it but with
further exploration of the series, you begin
to understand.
The Human Mind, Phillip Wongs latest
series is his contribution to this years
Starhill Art Festival. With a concise
theme, Passions, the organiser had
chosen to focus on three-dimensional
contemporary art, and according to the
flyers, the first time it has done so.
Combining two-dimensional and threedimensional media, Phillip in his work
seeks to explore the human mind and
its effect on the human condition. It
is interesting that he has chosen this
rather cerebral topic but not surprising
considering that contemporary art or its
predecessor modern art has its basis in
the exploration of human emotions and
condition represented in art.
The exploration of the human mind in
art is not new. Art historians suggested
it started with the Dadaists, developing
into the Surrealist movement with its
most famous practitioner Salvador Dali.
Influenced by Freudian theories on the
unconscious, significance of dreams,
and giving meaning to apparently
incongruous thought-associations and
seemingly illogical free associative ideas,
artists of the movement created highly
imaginative works of art. Incidentally,
one of its practitioners, Rene Magritte,
had named her painting The Human
Condition 1 - the very same topic Phillip
has chosen to explore in this series.
In this series, Phillip has created a series
of small and larger scale paintings
culminating in an interactive installation
piece called The Brain.
In his small paintings, we see individually
attached Miro-isque aluminium strip
figures, producing a high-relief effect.
Miro coincidentally is also a leading figure
in the Surrealist movement. He was the
first to give his paintings non-figurative
meanings, developing a form of lyrical
abstraction, that is at once groundbreaking and very recognisable.
In Phillips larger paintings, 12 in total,
the viewer is introduced to the thought
processes of the artist in creating this
series.
In each of the small and large paintings,
there is an impression of translucence
when you first look at them. The use
of special paints on wood, a rather
uncommon choice of backing medium,
created this unique effect. Compared
to his previous Daun Series which
were mainly painted on perspex, it is
interesting to note the change of material
and technique employed by the artist.
Perhaps an evolution or maturity on the
artists part after many years working in
the same medium?
Moving from his smaller pieces to the
larger ones, the viewer gets a feeling
that the artist has looked back in history

THE MIND AND ART

l by Edwin Ooi

to create these paintings. Elements of Surrealism and

Cubism are interspersed with his own artistic flavouring.
In Phillips smaller pieces, you get a sense of his child-like
expression in the figures backed by very bold colours. As
viewers look at this series, the association of the pieces
with the series title The Human Mind, particularly the
smaller paintings, is not immediately obvious.
However, as you move to the larger paintings; you begin
to see representations of the brain, starting from the use
of straight lines and a limited palette of a single colour
tone to a more organic abstract representation of the
human brain painted in a multitude of colours. From this
point, the viewer starts to sense the connection of the
paintings and its title.
When you walk past the multitudes of brain-like images,
you come to a rather familiar image of a room. Entitled
the Artist Room, it is drawn out in lines. At first, you
wonder where you had seen it before but realise later
that the painting could be a variation of Vincent Van
Goghs The Artists Room at Arles (1888). The original
which is at the Van Gogh Museum in Amsterdam
is painted in Van Goghs typical expressive and
psychological choice of colours, but Phillip has simplified
the world famous image into lines and a single colour
tone.
You ponder what an image of an artists bedroom
has to do with the human mind. But those familiar with
Van Goghs life will know that he had searched for the
substance and hidden meaning of objects. This in a way,
is reflected in Phillips own searching in his latest series,
specifically on the link between the mind and the human
condition.
Exploring further, the viewer ends his tour of Phillips series
in his large interactive installation piece called The
Brain. The installation itself is a no-brainer (pun intended)
as it consists of two large images of the brain constructed
again of aluminium strips. What is perhaps novel is that
Phillip asks us to walk through a simply-constructed room
of vertical strips of red and white fabric, in which the
viewer discovers a painting of a heart. The heart is in turn
linked to the two brains outside the room via aluminium
strips formed to look like heart pulses typically seen on a
heart monitor. Coming out from the room, the viewer is

asked to link the relationship between emotions

and human attributes shown on the two brains
by using the strings provided. With this final act,
the viewer realises what this series is all about.

It is perhaps with this statement, that Phillip

intends to evolve from a more commercial
artist to one willing to push the envelope and
make viewers think about life and its meaning
when they look at art. A good start certainly.
And certainly something greatly needed in
such times when materialism, commercialism
and disregard for basic human decency are
prevalent.

Although the writer is of the view that the

installation piece may have been better
executed, particularly the visual impact of the
emotions and attributes printed on the two
brains, and the construction of the red room,
nonetheless, this series is indeed weightier in
its theme and focus. Quite different from what
Phillip had been doing in the past as an artist.
Bill Evans, one of the most introspective postwar jazz pianists was reported to have said My
creed for art in general is that it should enrich
the soul; it should teach spirituality by showing
a person a portion of himself that he would not
discover otherwise. Its easy to rediscover a part
of yourself, but through art you can be shown
a part of yourself you never knew existed.
Thats the real mission of art. The artist has to

Newest Gallery in KL Art

LOVE is

Beautiful

A group exhibition by Wendy Chua,

Yvonne Ou Yong, Bridget Lee Sook Heng
and Tan Guat Ling

Lives@Planegg Studio
It all began from our unexpected encounter with Juliana Mok-Hayn (gallery owner &
founder). Since we are still new in the art scene, it is not easy to find a gallery who is
willing to exhibit our works. We were touched by Julianas passion in supporting new
and emerging artists. When we got to know each other better and shared our works
of art together, we all agreed that nothing in life is more significant than love. It is
love that makes our life beautiful. Thus, Love Is Beautiful is born.

Love Is Beautiful
group art exhibition
28 November - 31 December 2009
Main Venue :
Art Lives @ Planegg Studio
37-2 Jalan 23/70A, Desa Sri
Hartamas,
50480 Kuala Lumpur

Tan Guat Ling, Gods Gift 5,

Acrylic mixed media, 30cm x 30cm

Bridget Lee Sook Heng, Crimson,

Oil on canvas, 30.5cm x 30.5cm

TAN GUAT LING

BRIDGET LEE SOOK HENG

Art & Design lecturer and Artist

Born1968 in Ipoh

This series is about my pregnancy. My

pregnancy was a blessing from God as I was
having difficulty conceiving after many years
of marriage. It was during this time that I felt
very happy and I decided to record my
thoughts and emotions in my paintings as I
believe my son is truly a gift from God. Its was
exactly this series of work that has inspire
me to continue to pursue my passion in Art.

With mental images, imagination and at times

memories, garden theme is set to portray
and capture the essence of creating force
and energy in nature. Plants often signify grow,
procreation and life cycle. Flowers are admired
for its beauty, variety and uniqueness. As I
exploring and develop my work; colors often
take the center stage and set the mood for
each painting. Repeated motifs of plants and
flowers in variation give forms to the paintings.
Each painting is strike to achieve its expression
and allow something new to take place. It is
exciting to experiment and to see fluidity of
colors, lines and organic forms interrelated and
intertwined, merging and coming into being.
I would like to express this wonderful journey of
faith in my artwork that embraces
essence of growth, beauty, creative energy,
light, fragrance discovery.

Wendy Chua, Woman Flower,

Oil on canvas, 91cm x 91cm

Yvinne Ou Yong, (Detail) Time to Embrance,

Acrylic mixed media, 91cm x 61cm

WENDY CHUA

YVONNE OU YONG

My goal is to express my feelings and emotions

primarily through the texture of my paint.
Some say my work is realism with a tinge of
impressionist. I would just say it is a symphony
of brush strokes, colours and imagination.
It was the time living in Europe that exposed
Wendy to a wide spectrum of arts forms, from
sculptures and paintings to performing art. She
was particularly attracted to the powerful brush
strokes of Van Gogh and the breathtaking
beauty of Monets impressionist interpretation of
landscape.

Born and raised in Kuala Lumpur, Yvonne Ou

Yong left for London to pursue art education in
Chelsea College of Art & Design (The London
Institute). Upon returning to her homeland in
1999, she has been lecturing in KBU International
College ever since. In 2005, Yvonne ventured
into studio painting on a professional level.

Inspired by nature, her latest series around the

flower theme is an expression of her hopes and
love for humanities and in celebrating life the
joy, the struggle, the breakthrough and the
growth.

My work reflects a journey through phases of

life. This journey is my collective experiences
that happen every single moment of the day.
Through these experiences, I seek to culminate
an intuitive communion with the natural world,
which is the very essence of my work.

Exhibition hours :
11am 7pm Mondays - Saturdays
Tel : +03 6203 5223,
Mobile : +6012 224 7209
Supporting Venue : Hayns Pizzeria
64, Jalan 27/70A, Desa Sri Hartamas
50480 Kuala Lumpur
Opens :
9am - 10pm daily
Sundays 11am - 10pm
Tel : 1-300-82-3000,
Mobile : +6012 224 7209

09

SHARING

As of the writing of this article, there are already

many strings linking the various emotions
and attributes between the brains. And it is
interesting to note the associations viewers
have made. The writer reckons that it is perhaps
this inter-relationship [or correlation] which
Phillip aims to achieve. By interacting with his
work, we think about the mind, why we behave
in a certain manner and ultimately, its impact
on the human condition.

find something within himself thats universal

and which he can put into terms that are
communicable to other people. The magic of
it is that art can communicate this to a person
without his realising it. Enrichment, thats the
function of art.

10

RE-COVER ARTIST

Love towards drawings and doodling always

growing whether in static or motion. Subconsciously;
What the Hoot series, was made under the
moonlight (and sometimes using torchlight under my
blanket), using dots and lines of ink on paper that
flashback my full of laughter childhood; and fill it with
sound of music of Broadway Circuss song. Each of
the owls comes with a name and story behind it.
Normally, they are people around me that touch my
heart, mind and soul in my childhood as I grow up. I
am here to share a little gift from my little heart from
GOD with you, and you and you, in this universe.
Thats it.
- Bennylita Nasuty Ramlee

BENNYLITA
NASUTY
RAMLEE
(ALSO KNOW
AS BEN)

Hi,

I am Bennylita, and you may call me Ben. I am

originally from Alor Setar, Kedah, Malaysia, and was
born in December 1974. By heart, I am a self-taught visual
artist/designer and make arty-crafty print ads, multimedia
and film for as long as I can remember. I am a trainedprofessional-Multimedia Consultant/Producer with more
than 10 years of experiences in various kinds of multimedia
and web portal application development and training
with government agencies, corporations, universities and
individuals.
I have a mixture of formal education in Film Video
Production from National Arts Academy(2008) and
Computer Science from National
University of Malaysia (2002)
and Multimedia from Northern
University of Malaysia
(1999). Twice, I received
offers to continue my
studies in Fine Arts,
ITM (now known as
UITM-University of
Technology Mara,
Malaysia) in early
1990s but I was
unable to do so
due to lack of
motivation from
my surroundings. But
I never regret that I did
not pursue formally in Fine
Arts but Multimedia.
I participated in various
multimedia and film exhibitions and
screenings frequently, mainly in Kuala Lumpur and my
film was also screened in Jakarta, Indonesia. Busy with my
studies and developing career after university made me feel
unhappy with my own self and start to find what I lack in life
here and there. Back in 2002, I realised that I always describe
my hobby as drawing and painting even though I have left
it for more than 10 years. Since then, I believe that my quest
is to draw and paint happily ever after. Making short films
is an ultimate passion to see my arts and crafts on moving
celluloid.

Early 2009, I actively participated in selected Art &

Craft Bazaar such as Pipit Wonderful Market, Arts
For Grabs, Laman Budaya, Creative Mafia of Bijou
Bazaar and Urbanscapes. In November 2009, ZIG
ZAG ZOO, is my 1st Art Exhibition at the National Zoo
Malaysia and Pelita Hati House of Arts for Art Expo
Malaysia 2009, Matrade Tower. At the moment, I live
in Kuala Lumpur and manage my own multimedia
production and consultation company and
independent record label, named Pekanmaya. Owl
and MagicalTreehouse is anything arts and handmade
crafts but not gossip project created by me, inspired
by owl, moon, fairies, dragon, Bigfoot, little people,
mermaid, scarecrows, carousel, circus, tree house and
rainbow. On a virtual basis, you can find me at http://
owlandmagicaltreehouse.blogspot.com or email me at
ben.ramlee@yahoo.com.

The multi-talented filmmaker Bennylita Nasuty

Ramlee is essentially a
line-person, whose works
capture the essence
of human frailties by
highlighting their owllike eyes. With dots,
crosshatchings and
curlicues, she camouflages
the faces of people with
beaks and feathers,
becoming part caricature,
part portraiture. With the
colour red as filler, these
characters embody any
given idea in a flash:
anger, love, assertion,
withdrawal, tenderness,
indifference. Still, they are
playful, unobtrusive, easy
to identify. Even when they
expose their breasts or
underwear, they mean to
tickle and entertain.
Professor Dr. Zakaria Ali
Fakulti Seni dan Muzik
Universiti Pendidikan Sultan Idris

11

FEATURES

CONTEMPORARY
CROATIAN DRAWING
PRESENTED TO THE WORLD
l by Tatjana Carev-Maruna

The

exhibition emphasises a vital factor of

todays art scene the cultural diversity
and pluralism to which the Republic of Croatia is fully
committed. It is precisely this diversity that opens up
possibilities for inter-cultural dialogue, and visual arts with
their universal language of tolerance and mutual respect
make cultural co-operation and programme exchange
possible.
This is a touring exhibition comprising 140 works of 70
contemporary Croatian artists. It represents the finest
works of different generations of artists, including young
and up-and-coming artists, and various trends in modern
visual artworks of the 20th and 21st century. The exhibition
shows on a broader scale the dynamics of Croatian
contemporary art scene, the complexity and diversity
of approach and technique, as well as the richness of
artistic expression in Croatia.
Nine of these seventy artists participated in official
selection at the Venice Biennale in the past. Three of
them - Matko Veki, Nikola Koydl and Zoltan Novak have
just presented Croatian art at Venice Biennale this year
(June November 2009).
Contemporary Croatian Drawing began its extensive
tour in 2005. It has travelled through Jordan, Egypt,
China, Hong Kong, a number of European countries,
South America and South Africa; to date it has been
shown in over twenty countries. The interest shown by
various countries in hosting this exhibition was enormous
and it confirmed that such projects directly contribute
to bringing cultures of European and non-European
countries closer together.

REVIEW
Personally as an artist, I find the Contemporary
Croatian Drawing exhibition a most exciting and
refreshing, if not the most eye-opening and inspiring
art exhibition Ive seen locally in the last couple
of years.. For someone who has not had much
opportunity, as it is with many Malaysian artists, to
travel to Europe, I find it thoroughly fascinating to
be feasted here in Malaysia with so many fine and
admirable artworks by so many artists from a region
comparatively unfamiliar to many of us. To many
Malaysian artists it is an exceptionally wonderful
offering.
To art students especially, the exhibition offers a
rare opportunity to view many examples of fine
original modernist and contemporary drawings
from anywhere.The drawings on show, whether
preparatory drawings or finished artworks in their own
right, are a diversity of splendid creative expressions
in 2-dimensions to derive artistic inspirations from,
and not just a mere sampling of draughtsmanship by
Croatian artists. Going by the many very impressive
sample of drawings, one wonders what the other
artistic products of the artists are like. Perhaps
another time. And accompanied perhaps by a
lecture or forum on Croatian art and culture that
includes participating artists, to further heighten our
appreciation of the art, and to increase bilateral
cultural understanding. The path ahead is wondrous.
Present-day Croatian drawing is obviously more
than strong enough to assert itself as a convincing
protagonist on the international art scene., to amend
what is written by Tonko Maroevic.

Hrvoje Sercar, Eyes of St. Stephen, drawing, 75 x 55.5cm

The exhibition are divided into 6 separate entities:

1. Metamorphosis of the body
2. Figures in space
3. Suggestion of depth
4. Challenge of colour
5. Traces of gesture
6. Structures

ZABAS (Zainol Abidin B Ahmad Shariff)

Artist (former Director, Galeri Petronas, Kuala Lumpur,
and lecturer in art and art history, Universiti Sains
Malaysia).

The exhibition was staged at the National Art Gallery

Malaysia from 9 to 31 October 2009, and the Muzium &
Galeri Seni Tuanku Fauziah, Universiti Sains Malaysia in
Penang, from 11 Nov to 11 Dec 2009.
The catalogue and exhibition emphasise the cultural
diversity and pluralism to which the Republic of Croatia is
fully committed. It is precisely this diversity that opens up
possibilities for inter-cultural dialogue. Cultural exchange
is a precondition to a deeper mutual understanding
between our two countries. The visual arts with their
universal language of tolerance and mutual respect
make cultural co-operation and programme exchange
possible.

Nevenka Arbanas, Patchwork Drawing I, drawing, 100 x 70cm

The Embassy of the Republic of Croatia believes that

this cultural event will prove a true confirmation of many
Malaysians and their wish to get to know Croatian visual
art scene better and also to open new space for cooperation and exchange of many more cultural projects
between our two multicultural countries - Croatia and
Malaysia.
Ms Tatjana Carev-Maruna, MSc
Minister Counsellor
Embassy of the Republic of Croatia Kuala Lumpur
tatjana.carev-maruna@mvpei.hr

Nives Kavuric-Kurtovic, From The Open Deep, drawing, 100 x 70cm

Dalibor Jelavic, Big bang (the Space Theatre),

drawing, 91 x 65cm

12

CREATIVE INDUSTRY

AEM03 General Impression

3RD ART EXPO

MALAYSIA
AEM3 DEFIES ODD, A
BIGGER SUCCESS
l by Ooi Kok Chuen

THE

just-ended 3rd Art Expo Malaysia has marked

new territory in contemporary art showcase
from the East and West, striking a balance between
commerce and entertainment.
Still a free-admission Expo, it attracted not only
connoisseurs and collectors but also students and families
getting accustomed not only to art in Malaysia but also
the vast beyond.
Also involved in a bigger way this year are those in
the peripheral services like transportation, packing/
packaging, security systems and insurance.
The big buzz in the Art Expo was the sale of Malaysian
Syed Thajudeens Springmood triptych for RM250,000
which a Malaysian businessman bought with a view to
presenting to his daughter, who is immortalised in the
183cm x 450cm oil on canvas.The price was short of the
2008 record of RM300,000 for a Lim Kim Hai painting last
year.

Another artist who breached the RM200,000 mark was

Indonesias S.P. Hidayat wielding his long palette knife like
a samurai sword in his daily demonstration over five days
of the Art Expo at Singapores Linda Art Gallery booth.
Linda Gallery (Singapore) also represented Chinas Jiang
Shou and Deng Xinli. Indeed, galleries have gone beyond
national confines, as three other Singaporean galleries
did. Tembusu Gallery also had Malaysian Yeo Eng Hin
besides Singaporean sculptor Lim Leong Seng; Jasmine
Gallery (MAD Museum of Art and Design) had China artist
Song Wei and Heng Artland featured artists from China,
France, Bangladesh and Mongolia.
Indonesias Koong Gallery represented only a Malaysian
and Canadian artist, while South Korean gallery Simyo
also plugged Vietnamese artists and Samanvai Gallery
(India) also showcased a Portuguese artist. Malaysias
Metro Gallery had Indonesian Huang Fong while Richard
Koh Fine Arts catered exclusively to Indonesian, China
and Thai artists.
The Expo, organised jointly by the Art Expo Malaysia Sdn
Bhd and the National Art Gallery, also saw the advent of
digital art in a big way with the mega video presentation
of Miao Xiao Chuns Microcosm, which drew huge
crowd and delightful reviews for its grand adaptation of
Hieronymus Boschs The Garden of Earthly Delights, with
its spin on the Fall of Man, temptation and damnation.
Also on show were five other of Chinas hot e-artists.
Also from China were the accomplished works in various
genres of 19 professors from Beijings Central Academy
of Fine Arts. These two China-originated events were to
celebrate Malaysias 35 years of diplomatic relations with
the former Bamboo Curtain and now global economic
powerhouse.
This years Art Expo had attracted some 43 galleries from
15 countries namely China, Hong Kong, Hungary, India,
Indonesia, Japan, Malaysia, Myanmar, the Philippines,
Singapore, South Korea, Spain, Switzerland, Taiwan

The large paintings at the House of Matahati booth

and Thailand. But the artists involved were also

from Bangladesh, Vietnam, Mongolia, Portugal,
Canada and France.
The Grandmasters Tribute Pavilion was devoted
to educationist-artist Cheah Yew Saik, who had
recuperated from a prostate operation in time for
the Expo. Cheah, who will be 70 this December,
founded and headed the Kuala Lumpur College
of Art from 1968 to 2002.
Myanmar art made a big splash through ACD
Gallery and Myint Soes Summit Art, while India also
made a stronger presence with Samanvai and
Kolkata-based Janus Art Gallery which had among
others, Kalyan Mukherjee and Srabani Sarkar with
their rural-to-urban narratives.
For the third consecutive year, ATR (Art To Rent)
Gallery showcased the fast-emerging Spanish
sculptor Jesus Curia, this time with three other
promising artists -Guillermo Oyaguez, Jacinto
Moros and Carmen Pombo. Also a three-time
partipant was the Hungarian father-and-son team
of Zoltan and Daniel Ludwig. Swiss artist Gao
Qing Fang slipped in her Hong Kong Return to
Motherland series.

The Sutra Gallery gallery booth with Syed Thajuddens top-selling painting

ZHANG XIAOTAO, Mist, 3406, Animation, 2008

Noda Contemporarys top draw was the

Japanese Patterning Pop icon Yayoi Kusama, 80,
and Ken Matsuyama while if nothing else, Ongarj Loeamornpagsin (Number 1 Gallery, Thailand)
spooked vistors with his grotesque man-nimal.. The
Philippines Galerie Joaquin presented figurative
artists Jaspher Penuliar and Eufemio Rasco with
their bondage themes, and the folksy Jovan
FENG MENGBO, Q2008, 1042, Video Multimedia, 2008

13
Benito besides the glass sculptor Ramon Orlina, while
Indonesias H Gallery had red-ticket items in the Balinese
Nyoman Gunarsa.

EXHIBITION REVIEW

On the Malaysian side, there was a good cross-section

of artists across generations, gender, styles and media
with the leading local galleries supporting in a big way.
Also the alternative spaces of House of Matahati with its
cult founders Bayu Utomo Radjikin, Ahmad Fuad Osman,
Ahmad Shukri Mohamed, Hamir Soib, Masnoor Ramli
Mohamed, and the Annexe Gallery of Kuala Lumpurs
Central Market were represented. Two US-based artists
Eng Tay and Khoo Sui-Hoe were even represented at two
booths.
In terms of generations, it was a delightful spread with
octogenarian Datuk Syed Ahmad Jamal, Tew Nai Tong,
Dato Sharifah Fatimah Zubir, Raza Azhar Idris (with his
batik glass-plate sculptures), Husin Hourmain and the
younger set of Haslin Ismail, Ruzzeki Harris, Khairul Meme
Azmir Soib (RA Fine Arts), Lim Keh Soon, Eiffel Chong
(Annexe Gallery), Raduan Man, Diana Ibrahim (Three
Hundred Sixty), Roslisham Ise Ismail and Liew Kwai Fei
(Suitcase of Stuff, an irreverent portable exhibition by the
online art magazine, arteri).
Making rare appearances were the wildlife artist Jaafar
Taib, batik artist Ismail Mat Hussin and the portrait
specialist Samjis Mat Jan in the Metro Fine Art booth,
which also had Indonesian Huang Fong, dubbed the
monochromatic Le Mayeur, besides caricaturist Stephen
Menon.
The artists from South Koreas International Art
Cooperative Organisation led by their indefatigable
Alvin Lee Bung-Lyol, who is also the Asian Watercolour
Confederation secretary-general, again made an
impactful presence. Outstanding among this group
were Alvin Lee with his global-warming message, still-life
(Kim Hyung-In), mixed media macrame (Kim Mi-Soon),
patterning (Sohn Young-Eun), playful sand-encrusted with
picture (Son Sun-Ok) and rough-hewn nudes (Yoon Seonyoung)
The National Art Gallery promoted its Malaysia Open 09
exhibition cum auction showing a sampling of works by
Ismail Hashim, Tajuddin Ismail, K. Thangarajoo, Chong Hon
Fatt, Sylvia Lee-Goh and Peter Liew. The Malaysian Art
Idols: New Directions/Different Voices highlight curated
by Ooi Kok Chuen featured icons Abdul Multhalib Musa,
Chan Kok Hooi, Fauzin Mustafa, I-Lann Yee, Kelvin Chap
Kok Leong, Kow Leong Kiang and Ramlan Abdullah.

TAN LIQIN, Digital Bloodless, 1000. Animation,2003-2008

To purchase Art Expo Malaysia 2009 catalogue, please contact +603
or email to <info.artexpomalaysia.com>.

77283677

You can look for more information at www.artexpomalaysia.com

to the Art Expo as well as to see the Asian

International Art Exhibition ongoing at
the National Art Gallery, while Dasein Art
Academy must be credited for taking three
busloads of their teaching staff and students
to the Expo. You wonder what the other art
educational institutions were doing.
The organisers had an early scare when the
Matrade Exhibition and Convention Centre
(MECC) venue leaked at four places, but
luckily makeshift roofs were erected, while the
multiple exits presented a security nightmare.
Deputy Trade and Industry Minister Datuk
Mukhriz Tun Dr Mahathir was the guest-ofhonour in the VIP Night, while Tourism Minister
Dato Sri Dr Ng Yen Yen, who was represented
by the deputy secretary-general Dr Junaida
Lee Abdullah, did the opening honours.

A painting by Yayoi Kusama at the Noda Contemporary booth

The 3rd International Art Expo Malaysia was

under the patronage of the Raja Puan Muda
of Perlis Tuanku Hajjah Lailatul Shahreen
Akashah Khalil.

Other highlights included the 1Malaysia painted

styrofoam mosaic while the HeArt Group of enterprising
special-needs artists was a revelation in terms of skills
and insightful expressions. Lotus displayed cut-out
components of two of its signature cars.
As the Art Expo brought in some of the finest expressions
of artists from all over the world, it is notable that a
group of artists from the northern states made a daytrip

VIP Night: One for the album

A segment of Miao Xiao Chuns video art, Microcosm

EXHIBITION
EXHIBITONHIGHLIGHTS
REVIEW

14

Li Chi Mao, My Heart is in Malacca, ink painting

LI CHI MAO
l by Ooi Kok Chuen
THE Yang di-Pertua Negeri of Malacca Tun Datuk
Seri Utama Mohd Khalil Yaakob sprang a surprise on
everyone when he launched the Li Chi Mao Art House
last October 8.
He conferred on the Taiwanese artist-calligrapher
ambassador a Honorary Citizen of Malacca. For
Professor Li Chi Mao, 84, it was a fitting tribute to his
brace of accolades from all over the world.
In 1987, the City of San Francisco honoured him by
naming November 29th as Li Chi Mao Day in the
United States, and he has had grand solo exhibitions
all over the world at the special invitation of dignitaries
like the Shaik Rashid of Bahrain and the wife of the
Prince of Jordan.
He has been awarded by, among others, the then
President of Taiwan Chiang Kai-shek (1973), Taiwans
Council of Cultural Affairs, Taiwans Ministry of National
Defence and the National Literature and Arts Prize,
Taiwan in 1982.
The Li Chi Mao Art House in Malacca is the only
dedicated centre of museum-quality works of the
artist-calligrapher outside his home base of Taiwan,
where he is considered a national treasure. Li has a
museum under his name in the Hsing Wu College in
Taiwan established in October 1999 and is also the
head of the Carrie Chang Fine Arts Centre in the
Tamkang University.
It all began when Li, who was accorded a Tribute
Pavilion for Living Legend Artist at the 1st International
Art Expo Malaysia in 2007, held another major show at

the Soka-Gakkai Building in Kuala Lumpur. He then

decided to donate a tranche of some 85 Chinese
brushworks and calligraphy to Vincent Sim Tiak
Choo, the Art Expo Malaysia Sdn Bhd managing
director.
Sim, 65, set up a trustees committee and decided
to convert his gallery in Malacca into a museum of
sorts for Li Chi Mao, so that his works can be publicly
displayed to art enthusiasts in the region who may
not have the opportunity to go to Taiwan to see his
works. It will also be a resource centre of his works
and for Chinese brush paintings and calligraphy in
general.
His subjects run a fantastic gamut of people and
animals, horse hustlers, buffalo girl and ghostcatcher Zhong Qui. They are about the ordinary
people in ordinary pursuits and situations, whether
they be in the outbacks, market and in Malaysia,
kampung. Never constrained and monotonous, he
is known for his refined technique of dextrous strokes,
ink tonal fluidity and quirky spontaineity.

ASWAD AMEIR :

5 DEC - 28 DEC 2009 @

GALERI CHANDAN

Born in Woyang County, Anhuei Province, China,

Li studied under the famous Lu Hua-shih in his
hometown before the tumult in China forced his
moving to Taiwan in 1949. There, he studied in the art
department at the College of Political Warfare.
His achievements are varied. He is in many ways
like our Datuk Syed Ahmad Jamal. He is also an
art educationist, scholar and an art ambassador,
having invited exhibitions in Taiwan, the United
States, South Korea, Japan, Costa Rica, Belgium,
Jordan, Turkey, Spain, West Germany, Belarussia,
Australia, New Zealand and Bahrain.
He was also the founder of the Artists Village in
Jodong, Hsinchu, Taiwan.
He has also been adviser/chairman of several
organisations like the Chinese Confucianism
Association in Taiwan and judge of several
competitions and has done charitable work through
his art besides giving off scholarships in his name for
Dankook University in Seoul in South Korea.

Through X viewer could spot peculiar scraps of visual

imageries that resemble the likes of Lenny Kravitz, Banksy,
Erno Rubik, The Doors, Bob Dylan and even possibly John
F. Kennedy, Andy Warhol and Roy Orbison. Most of the
viewers would be inclined to communicate nothing
more than the surface. However, for a fortunate few,
these visual references speak back, transpire into a
mental movie; maybe with Los Bravos Black is Black as
soundtrack. X showcases a collage of appropriated
or stolen images, remixed and re-spawned by Aswad
Ameir. It speaks of creative punks, pirates, remixers,
urban wars that pushed legal, social and industrial
boundaries above and under - ground. Not dissimilar
to the dynamism and often anarchic gestures of
contemporary artists. This collection of images seems
to have provided Aswad with a renewed resource of
power, liberty and his very own personal dialect. At
times, Aswad appears to be speaking in codes, relevant
and comprehensible only to those they are addressed
to. There are no clear narratives to his images and as
audiences, it is as if we are forced to second-guess then
construct whatever meanings we will of them. X is an
unknown, an enigma.

The Li Chi Mao Art House is at 11 Lorong Hang Jebat,

Malacca.

POINT
BLANK
HOUSE OF MATAHATI

The artist-run space, House of MATAHATI (HOM),

launched an exciting exhibition titled *Point Blank*. It
featured artworks by Izaddin Matrahah, Noor Azizan
Rahman Paiman a.k.a.Paiman, and Aznan Omar.
The exhibition saw the three artists - all lecturers at UiTMs
Seri Iskandar campus in Perak - come together with works
that are definitive of their respective styles.
The group exhibition treated audiences to mixed media
works by Aznan Omar, colourful expressionist paintings
by Izaddin Matrahah, and, Paimans signatory caricature
and text pieces. *Point Blank*s premise is to consider
how art academicians continue their practice within an
environment that is increasingly dependent on capitalist
tendencies and stellar names.

This is the gallerys step towards making art more

accessible to the public. We want to encourage
dialogue, says artist and co-Director of HOM, Bayu
Utomo Radjikin. The topic we have chosen, SENI +
INSTITUSI = APA NAK JADI or ART + INSTITUTIONS = WHAT
WILL HAPPEN is highly relevant. We are now in the
twenty-first century and we need to analyse the role of
art institutions in the country. Are they still a viable body?
What roles do private galleries and independentlyrun spaces play? Where does this leave artists and art
practitioners? In conjunction with the exhibition, a forum
was held with Hasnul Jamal Saidon, the director of the
Tuanku Fauziah Museum and Gallery in Penang, as
moderator.

Point Blank was held at the House of Matahati (HOM), 6A Jalan

Cempaka 16, Taman Cempaka, 68000 Ampang, Selangor,
from November 21 to December 12, 2009.
For more information,
visit houseofmatahati.blogspot.com.
Gallery Manager - Mimie
+603 9285 6004 / +6012 373 6004
houseofmatahati@gmail.com

15

HYBRID - UMIBAIZURAH
Sitting with the genii stoneware, decal, bell,
timber block, and
wooden stool,
148 x 33 x 33 cm,
2008/2009

l by Suraya Warden

MIDDLE LEVEL
Something different here, the Hands Up series. These
are the saddest toys of the lot, fixed in a state of
performance atop their delivery crates. The plinth idea is
super-sweet, with barcodes, arrows, silhouettes,
*fragile*and all. Its easy to get more excited about
these crates than the ceramics themselves, though the
toys are very strong. Its all in the details of each doll
puffy softness, toes turned inward, hands forcibly thumbsup, all puppetry and innocence. And then for their horror,
something protruding from each stomach, out the top of
the head and from the shoulder blades, like
child-specific chakras. Suddenly Im a kid again and my
fear of clowns is setting in. On this level is also the Delivery
series where the viewer will wonder more deeply about
the toy connection. Most easily described as rabbits on
wheels, these are instantly interesting and fun.

Sitting with the genii #6

- stoneware, decal, bell,
timber block, and
wooden stool,
147 x 33 x 33 cm,
2008/2009

UPPER LEVEL
Culminating the toy themed exhibition with a kind of
laboratory vibe, the upper level shows the *Road Runner*
series as sets of three in clear boxes. These are baby-doll
heads fused with bulbous forms, appendages that go
nowhere, and wheels. All functionality is lost outside of
movement, with dignity nowhere in sight. Only one poor
doll is allowed to keep a humanistic set of legs, but the
line is blurred as to whether they are hideous or not in this
context.

One

of Malaysias higher profile artists pulls off

her first solo with a rickety weirdness that
won this reviewer over.
HYBRID, held at Wei Ling Gallery, is divided into three
sections and could not have been better exhibited it is
a tiny space considering the number of works included in
this display. Umibaizurah Mahir (Umi) is showing ceramics,
mutated toy forms, a progression from explorations
made by the artist earlier in her career. Though there are
perhaps a few too many on show there is seemingly no
end to possibilities when creating hybrids, and by the end
of my visit I had sort of become a fan of that concept. As
usual, it was execution that finally swayed my opinion
while Umis mindset is a pleasant mystery to some,
her skill is obvious, and her choices for decoration and
ornamentation agreeable. The soft toys in the *Hands
Up*series have stitching, and puckering and dimples from
over-stuffing. Few can dislike this type of manipulation of
materials - seen so often elsewhere in sculpture - it wins
hearts every time. Also winning hearts are Umis
teddy-bear-based sculptures on the bottom level, sitting
with their feet dangling, palms pressed flat by their sides
as they look up and out at you. But they have funnels
and piping for appendages, painted windows for eyes,
and long necks of accordion tubing that render them
dark, strange and useless to provide the companionship
we are accustomed to from cuddly toys.

All in all, it is a show

with depth from a very
interesting and important
local figure, worth visiting to
experience your gut-response
to the Hybrids, which may
be one of fear, pity, or even
laughter.

LOWER LEVEL
Its a confronting emotion when you are trying hard to
trust and love things that you know must surely deserve
it but have their dark side right out there in front of you.

Sitting with the genii #8- stoneware, decal, bell, timber

block, and wooden stool, 142 x 33 x 33 cm, 2008/2009

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Crea

nOVA
21-23 .12 .09

EXHIBITION REVIEW

MAHIR SOLO EXHIBITION

AT WEI-LING GALLERY

In the end I choose one though, hes got an aeroplane

growth out of his head, albeit a cute cartoon-style
one, and hes painted in black, purple and gold, all
Renaissance and roses. Hes probably everybodys
favourite. Then theres the cow with the loveheart.
I mean, whats not to love about a red heart on an
upturned palm? But just when I fear that this is what these
works come down to; a tour of the toy factory, finding
an affiliation, picking a favourite, wondering if you would
take one home if you could, I realise Ive been sucked
deep into the analogy. I can either stay in and enjoy
the exhibition or I can pick a favourite and leave to meet
the gang for dinner. I go upstairs.

HIGHLIGHTSREVIEW
EXHIBITON

16

LUKISAN POTRET DIRAJA DALAM PROSES

BALAIRONG SERI ISTANA BESAR

SERI MENANTI, NEGERI SEMBILAN

Pelukis potret terkenal Malaysia, Samjis Mat Jan telah dipilih

untuk melukis potret baginda dan permaisuri, manakala
M. Aminudin Othman pula dipilih untuk melukis potret
ayahanda dan nenda baginda.

Samjis Mat Jan sedang menyiapkan potret DYMM Yang Di-Pertuan Besar Negeri Sembilan

erkembangan lukisan potret sudah dikenali di

Malaysia sejak dekad1950an lagi dengan adanya
pergerakan lukisan potret yang digerakkan oleh
pelukis terkenal dan mendapat gelaran pelukis potret
diraja (royal portrait) di Malaysia iaitu Mohd. Hoessein Enas,
Datuk. Beliau menggerakkan suatu aliran melukis potret
dan pemandangan secara pemahaman lukisan barat.
Hoessein Enas juga merupakan pelukis pertama Malaysia
yang digelar Bapa Potret Malaysia bagi melambangkan
kepentingan beliau dalam pensejarahan seni Malaysia sejak
1924-1995. Kesinambungan lukisan potret yang diasaskan
oleh beliau masih diteruskan oleh generasi selepas beliau
terutamanya bekas anak murid beliau sendiri seperti Mazli
Mat Som, Hamidah Suhaimi dan Rafie Abd Rahman (sekadar
menyebut beberapa nama). Selain itu kesinambungan
lukisan potret di Malaysia juga dimakmurkan oleh pelukispelukis tanahair seperti Amron Omar, Samjis Mat Jan, Aris
Aziz, M. Aminudin Othman dan ramai lagi pendatang baru
dalam seni lukis Malaysia.
Kepentingan lukisan potret di dalam perkembangan seni
lukis Malaysia adalah sesuatu yang amat diperlukan dan
di atas dasar itu baru-baru ini Balai Seni Lukis Negara (BSLN)
telah diamanahkan oleh Balairong Seri Istana Seri Menanti,
untuk memberi khidmat nasihat dalam menyediakan pelukis
bagi penghasilan lukisan keluarga DiRaja Negeri Sembilan.
BSLN telah dititahkan oleh DYMM Yang Dipertuan
Besar Negeri Sembilan Tunku Muhriz Ibni Almarhum
Tuanku Munawir untuk memberi khidmat nasihat dalam
menyediakan pelukis bagi menghasilkan lukisan potret
baginda dan keluarga baginda. Lukisan-lukisan ini perlu
disiapkan bagi menghiasi Balairong Seri Istana Besar Seri
menanti sempena hari keputeraan baginda pada 14
Januari 2010.

Dalam temubual bersama pelukis ini beliau memberitahu

SENIKINI akan pengalaman beliau menyiapkan lukisan
potretdalam tempoh paling singkat dimana dua lukisan
disediakan dalam masa 4 bulan sahaja . Permasalahan
teknik menjadi cabaran utama dimana atas pengalaman
beliau mengolah ala Rembrandt masalah piktorial
diselesaikan dengan satu atau dua strok calik berus tekstural.
Persoalan bagaimana memberi rupa kepada wajah dan
bukan sahaja sekadar ilustrasi. Dalam persiapan potret
permaisuri beliau terpaksa re-stretch canvas semula dan
membuat perubahan kerana awalnya agak off-centre.
Pemotretan bukan sekadar salin semula katanya dan
sebenarnya adalah soal kematangan teknik.

DYMM Yang Di-Pertuan Besar sedang menunjukkan kepada pelukis dan wakil BSLN foto-foto yang
akan dijadikan potret

BSLN juga telah memberi konsultansi berkaitan penjagaan

koleksi lukisan dan konservasi kepada pihak istana. Dua
buah lukisan potret koleksi Istana Besar Seri Menanti telah
dipulihara untuk diletakkan di Balairong Seri menanti pada
8 Januari 2010. Bahagian Penyelidikan dan perkhidmatan
Pameran juga sedang berusaha untuk berkerjasama
dengan pihak Istana bagi merealisasikan sebuah Galeri
Potret di Seremban, Negeri Sembilan.

BSLN PROGRAMMES

AND ACTIVITIES
Ekspo Seni Malaysia ini merupakan kali
ketiga telah dianjurkan. Balai Seni Lukis
Negara (BSLN) berperanan di dalam
menyumbang dari segi kewangan,
kepakaran dan tenaga dalam ekspo ini.
Ekspo Seni Malaysia ini terbukti bermanfaat
kerana ianya mampu menjana ekonomi
negara, bukan sahaja pada industri
seni tampak malahan ianya berjaya
mencambah sektor pelancongan.
Peluang ini perlu diraih oleh peminat

PRA-PELANCARAN
ART EKSPO
1 OKT 2009

Pameran ini bermula dari 6 Oktober

sehingga Januari 2009. Datuk Syed Ahmad
Jamal merupakan pelukis visual tempatan
pertama yang telah menerima Anugerah
Seni Negara pada 1995. Pada bulan
Februari 2009, karya beliau bertajuk
Mandi laut, 1957 bersama 21 buah karya
lain dalam koleksi BSLN telah diangkat
sebagai Daftar Warisan Kebangsaan 2009
oleh Menteri Kementerian Perpaduan,
Kebudayaan, Kesenian dan Warisan
(KPKKW).

Setem Khazanah Seni Visual Negara

juga telah memberi penghormatan
kepada beliau menerusi karya
Semangat Ledang untuk dijadikan
setem berdasarkan perwakilan kepada
tema figuratif dan landskap yang
dipersembahkan. Oleh yang demikian,
BSLN memberi penghormatan dan
penghargaan untuk mengadakan
pameran ini kerana beliau sebagai anak
seni yang telah berjaya melakarkan
nama dalam arena seni lukis negara.

Merupakan pameran yang diadakan

oleh BSLN dengan kerjasama Kedutaan
Korea sempena menyambut ulang tahun
ke 50 hubungan diplomatik kedua-dua
(KCPAA) negara. Dalam pameran tersebut
sebanyak 45 buah lukisan dipamerkan
termasuklah sebahagian besarnya ialah
arca yang dihasilkan oleh 45 pengkarya

tersohor dari negara itu. Pameran ini

bertujuan sebagai satu pembangunan
seni kreatif dan secara tidak langsung
memberikan pendedahan baru kepada
seniman dan peminat seni tempatan.

Pengangkutan Pelancongan Terbaik,

Agensi Pelancongan Terbaik, Destinasi Luar
Negara Terbaik serta Anugerah Khas.
Anugerah Pelancongan LIBUR yang telah
diadakan sejak tahun 2006 ini merupakan
satu usaha murni dalam memartabatkan
industri pelancongan negara secara tidak
langsung memberi suntikan baru kepada
penggiat pelancongan khususnya dalam
memajukan industri pelancongan
di Malaysia.

angin topi keledar 1 Malaysia susulan

pasca pelancaran Pertandingan Catan
Muralis Kontemporari 1Malaysia dan
program interaktif Tree of Life.
Ini secara tidak langsung dapat
mempromosi dan menarik minat
masyarakat kepada BSLN.

PAMERAN KOREAN
CONTEMPORARY
PLASTIC ARTS
ASSOCIATION (KCPAA)
26 OKT 2009

Pameran 34 buah karya yang telah

diilustrasi oleh 16 pelukis kontemporari
Cuba dengan mencerminkan pandangan
dan perasaan yang ada pada anak
tempatan negara itu melalui hasil karya
kreatif mereka. Melalui jalinan kerjasama
antara BSLN dengan pihak Kedutaan
Cuba, pelbagai lapisan masyarakat
dapat melihat sendiri paparan keindahan
seni kontemporari hasil ilham dari
negara Pulau Carribean itu. Hasil

PAMERAN CUBAN
13 OKT 2009

Tahniah kepada Balai Seni Lukis Negara

(BSLN) kerana telah memenangi anugerah
bagi Lokasi Seni dan Budaya Terbaik,
Anugerah Pelancongan LIBUR 2009 yang
telah berlangsung di MATRADE Exhibition
& Convention Centre. Sebanyak 20
kategori dipertandingkan pada tahun
ini yang antaranya adalah Lokasi Selera
Terbaik, Lokasi Seni dan Budaya Terbaik,
Lokasi SPA dan Kesihatan Terbaik, Lokasi
Membeli-Belah Terbaik, Lokasi Rekreasi
Keluarga Terbaik, Hotel dan Resort Terbaik,
Mercu Tanda Pelancongan Terbaik,

PAMERAN SYED
AHMAD JAMAL :
PELUKIS
6 OKT 2009

Sempena Perayaan Hari Malaysia di

Padang Merdeka Kuching Sarawak.
BSLN diberi peluang terlibat dalam 4
perkara sebagai pengisian program ini
iaitu Pameran Khas Sejarah Pembentukan
Malaysia dengan kerjasama Muzium
Negeri Sarawak yang memfokuskan
aspek seni visual untuk pameran khas
yang melibatkan lukisan-lukisan yang
bertemakan Kemerdekaan negara, jualan
karya-karya seni, demonstrasi lukisan berus

PROGRAM 1MALAYSIA :
AIR BRUSH
DI SARAWAK
7 - 13 OKT 2009

seni tempatan bagi menimba

pengalaman berguna disamping
mengeratkan hubungan antara para
pelukis dan pemilik galeri dalam dan
luar Negara.

gabungan pengaruh, gaya dan latar

belakang peribadi yang berbeza,
koleksikoleksi unik itu pasti membawa
sesiapa yang melihatnya kepada
himpunan seni yang mekar dan
bertunjangkan nilai-nilai kebangsaan
dan tradisi.

ANUGERAH
PELANCONGAN
LIBUR
2 DIS 2009

EXHIBITION
REVIEW
EXHIBITON REVIEW

18

tturns to host the exhibition since the first

in
i Seoul, South Korea, but the exhibition
became more structured only in 1992 at
the
7th edition in Bandung, Indonesia.
t
Malaysia has taken part in the series since
the 3rd chapter in 1988.
Australia
joined the group in 1996.
A
This
T is the third time the National Art Gallery
of Kuala Lumpur is the event venue, the
others
being in 1990 and 1998.
oth
The Malaysian artists span several
generations,
working in a
ge
multiplicity
of media, styles and
mu
subjects.
s
There
are those who even
T
strayed
a little from their
s
usual
gamut, with Philip
u
Wong
playing twisted
W
aluminium
strips on a
a
pedestal, Jeganathan
Ramachandrams VaastuMALAYSIA - Normah Nordin, Nose Pulled by the Ox, Installation:
animation, plexiglass, velvet, 183 x 183 x 183cm, 2009
steeped work turning into a head-buster of Malaysian
socio-political malaise, and Syed Thajudeen giving an
e-buzz with his symbolic and sexually charged lap-top
parable.

THE AIAE HAS

COME OF AGE
l by Ooi Kok Chuen

FROM

humble beginnings of a
self-generated exhibition
among artists from three countries in 1985, the
Asian International Art Exhibition (AIAE) has truly
come of age. This can be seen from the kind and
quality of works by artists from 12 countries taking
part in the 24th edition held at the National Art
Gallery Kuala Lumpur.
The acceptance of New Media such as
assemblages, 3-D objects, e-art and installations
reflects the artistic aspirations, bold acceptance
and changing times. Also artists who have
persevered with the exhibition are now highly
regarded in their respective countries as well as
the region. And the themes are no longer just
pleasant subjects and aesthetic show-offs but
also involve a more critical look into pressing
socio-political and environmental issues.

(3D digital painting on lenticular sheet), Enoch Chen

(video), South Korea s Kwon Yeo-Hyun (video) and
Japan s Toshiya Kuroiwa (video).

The e-media works are dominated by Masnoor Ramli

(Mind Vision), Kamal Sabran (Lumpur), Hasnul J. Saidon
(Want Malaysia?, DVD projection on water, ceramic
bowl, laser print stickers on bottles, binded book) with
the dig on the new administrations 1Malaysia mantra,
while even Normah Nordin, at 57, makes an animation
installation plug with Nose Pulled By The Ox (installation:
animation, plexiglass, velvet), alluding to the cow-head
protest controversy.

From China, take note of the works of Luo Yiping (ink and
wash), Huang Qiming (woodblock print,ink and wash)
and Tian Ye (Tian An Men re-branded) and Macau, Tong
Jian Yin.

Film legend Tan Sri P. Ramlee seems a favourite as Zulkifli

Yusoff uses his image with that of his third wife Saloma in
his installation Sedangkan Lidah Lagi Tergigit, from the film
Tiga Abdul, to comment on the increasing marital breakups perhaps.

Indonesias artists are from the Bandung Institute of

Technology while Singapores participants are from the
Modern Art Society, which also has Malaysian-born Yeo
Siak Goon and the evergreen Indonesian-born collagist
Goh Beng Kwan taking part.

Among the sculptures, Juhari Saids printed/carved

wood from the Okir series and Jasmin Koks wiry
mannequins called The Couple pique interest. Also note
Datuk Raja Zahabuddin Raja Yaacob (photography),
Tajuddin Ismail (abstract), and Raphael Scott Ahbeng,
70, among the East Malaysian artists but Dr Choong Kam
Kow, at 75 is the oldest in the Malaysian contingent.
Off-the-wall works by foreign artists include those by
Indonesia s Setiawan Setiawan (installation), Vietnam s
Nguyen Xuan Long (Viet Chat installation of Vietnamese
alphabets as character analysis), Hong Kongs Belle Tang

Japan s works mostly concern abstract compositions.

The Philippines is well represented by Ben Cabrera,

a.k.a. BenCab, Araceli Cheloy Limcaco-Dans, Susan
Fetalvero-Roces, Igan D/Bayan and glass sculptor Ramon
Orlina.

The works of the Taiwanese artists betray partly their

overseas training and bias - Jenny Chen, Tseng ChangShen, Hsih Hong-Tah, Lee Tsung-Jen (in the United
States), Tsong-Pu (Spain), Tao Wen-Yue and Lin Chin-Piao
(France).
Also take note of the works of Eddie Lui (Hong Kong),
who took part in the 1st Langkawi Arts Festival in 1998;
Pandy Aviado (the Philippines); Leo Hee Tong and Hong
Sek Chern (Singapore); Thongchai Rakpathum (Thailand);
Han Mun Young and Kim Soo-ja (South Korea).
For the artists who have taken part in the AIAE, it is a
noble effort for each artist has to look into the logistics
of sending his works to the host country, and pay for his
own air passage, accommodation and miscellaneous
expenses. With the 25th anniversary in the next host
country of Mongolia next year, the future looks exciting.

Also the use of indigenous materials and crafts

into their art such as the lacy fabric calado
(Susan Fetalvero-Roces, the Philippines), hanji
paper casting (Han Ki Soo, South Korea),
bamboo and rattan (Prathak Pragijvinitjpan),
etching on calico (Wittamon Niwattichai), and
lacquer (Doan Thuy Hanh, Nguyen Vu Hong
and Tran Dinh Khuong, Vietnam), as opposed
to the Western paradigm which is pass that
crafts belong to the nether region of low art. It is
also about Asian artists reclaiming their heritage
and being proud about it, for its richness and
immense potential.
The exhibition also comes with a symposium
jawing on the theme being Asia@Asia:
Manifesting Diversity.
Member countries take

THAILAND - Mr. Thongchai Rakpathum, Aesthetic No. 27,

Acrylic on canvas, 100 x 120cm

The 24th AIAE ( National Art Gallery (Balai Seni Lukis

Negara, November 20, 2009 - January 31, 2010).

MACAU - Joey Ho Chong I, Howling Celestial Dog Pisses on Heaven,

Mixed media,121 x 121cm, 2008

19

l oleh Hasnul J Saidon

yang bernada melankoli, sedih, merintih, dan

ada juga yang menasihat, mengkritik dan
menyindir. Tidak kurang juga yang marah dan
memberi amaran. Terdapat juga karya-karya
yang memaparkan kritikan politik yang pedas
dan keras. Ada juga yang cuba menjerit secara
visual walaupun segelintir cuba menjinakkannya
dengan pengolahan formal yang manis dan
sedap mata memandang.
Beberapa orang pengkarya menampilkan
persoalan dan konflik peribadi. Karya-karya
sebegini memerlukan pendekatan penghayatan
bersifat psiko-analisis. Hanya segelintir saja
karya yang menggarap tema yang lain
seperti spiritual (keagamaan/kepercayaan),
budaya dan warisan, hubungan kekeluargaan
dan kelestarian alam. Kebanyakan karya
menggunakan pendekatan figuratif dan
separa abstrak. Terdapat juga kecenderungan
menggunakan bahasa visual komik, ilustrasi,
grafiti dan karikatur yang kelihatan semakin
popular pada masa kini. Tidak banyak
penyertaan dalam gaya abstrak sepenuhnya.

1. Pembuka
Penulisan ini adalah pembacaan peribadi saya
terhadap Pertandingan Seni Tampak Terbuka
Johor 2009, berdasarkan pengalaman sebagai
salah seorang hakim. Saya mendepani proses
penghakiman sebagai suatu proses ilmiah atau
akademik yang berpusatkan pembinaan ilmu.
Oleh itu, ia terbuka kepada perbincangan
atau wacana. Perbincangan dan wacana
memerlukan persekitaran yang menghormati
kepelbagaian pandangan atau pendapat yang
bersandarkan hujah, kerangka sejarah, ideologi,
teori dan pembuktian praktis.
Perlu dimaklumkan bahawa penghayatan,
penghakiman dan penilaian karya seni adalah
suatu proses yang subjektif dan relatif. Tiada
suatu piawaian yang mutlak dalam menilai
karya seni. Panel hakim kebiasaannya akan
berbincang bagi menentukan metodologi
dan kerangka kriteria penilaian yang boleh
dipersetujui bersama. Metodologi dan kerangka
kriteria mungkin tidak sama dengan yang
digunakan dalam pertandingan yang lain,
mahupun dalam penghayatan oleh pihak
lain umumnya. Oleh itu, pilihan dan keputusan
mana-mana panel hakim pertandingan seni
sudah tentu tidak boleh memuaskan hati semua
pihak.
2. Kriteria
Secara umumnya, sambutan yang diterima oleh
pertandingan ini adalah amat menggalakkan
sekiranya dibandingkan dengan pertandingan
bertemakan warisan Johor sebelum ini. Selain
dari tema yang terbuka, faktor hadiah yang
meningkat dari segi nilai ringgitnya mungkin juga
menyebabkan para pengkarya yang dulunya
seganuntuk menyertai, kini lebih teruja untuk
menguji nasib.
Majoriti penyertaan yang diterima adalah dalam
bentuk catan, manakala selainnya adalah
dalam bentuk lukisan, cetakan, foto, tekstil,
arca seramik, besi, kayu dan bahan campuran.
Kepelbagaian bahan, teknik, aliran, subjek,
tema dan gaya pengolahan perlu digalakkan
terutama sekali dalam pertandingan yang
bersifat terbuka.

Secara dasarnya, saya menilai karya berasaskan

faktor-faktor berikut :
1. Memenuhi syarat-syarat pertandingan
2. Kemahiran dalam menggunakan bahan
pilihan dan menyesuaikannya dengan
teknik, aliran, pengolahan subjek,
tema dan gaya pengkaryaan
3. Keaslian, kematangan, kefasihan dan
kepintaran dalam menterjemahkan
pembacaan peribadi terhadap sesuatu
subjek, tema, isu atau pokok
persoalan yang ingin disampaikan
4. Ciri-ciri inovatif dan kreativiti, terutama
sekali dalam mengemukakan
pendekatan yang berani, segar,
baru dan kurang diterokai.
5. Disiplin, ketertiban dan pemeliharaan
terperinci terhadap sesuatu tradisi
amalan seni tampak sekiranya
pengkarya memilih pendekatan
yang sudah lama bertapak
6. Kekuatan keseluruhan karya
dibandingkan dengan amalan
seni tampak kontemporari
tempatan dan antarabangsa
3. Proses Penghakiman
Pada peringkat awal, para hakim telah
melaksanakan proses eliminasi, yakni
mengenalpasti karya-karya yang tidak
memenuhi syarat-syarat pertandingan dan juga
karya-karya yang menampakkan kelemahan
yang ketara dari segi kemahiran teknikal.
Pada peringkat ini, terdapat beberapa karya
tiga dimensi yang bermutu terpaksa ditolak
penyertaannya kerana melanggar syarat
pertandingan dari segi timbangan berat. Namun
demikian, atas dasar semangat penyertaan,
pihak hakim telah sebulat suara untuk memilih
karya-karya sebegini untuk dipamerkan. Pihak
hakim juga telah sebulat suara memutuskan
untuk menimbangkan penyertaan karya
berbentuk foto dan cetakan digital bagi
menggalakkan semangat meneroka.
Proses eliminasi kedua merujuk kepada
karya-karya yang lemah dari segi keaslian,
kematangan, kefasihan dan kepintaran
menterjemahkan pembacaan peribadi
terhadap sesuatu subjek, tema, isu atau

Pemenang Pertama Ken Ghee Chung - What is it 2009

REVIEW

Kebanyakan pengkarya mengutarakan tema

dan isu yang berkaitan dengan masalah sosial
dalam pelbagai nada pengucapan. Ada

EXHIBITON

TAMPAK
TERBUKA JOHOR 2009SATU ULASAN

EXHIBITION HIGHLIGHTS

PERTANDINGAN SENI

pokok persoalan. Pada peringkat ini, karya-karya

yang mengunakan pembacaan, pentafsiran,
nada ekspresi, gaya dan terjemahan visual
yang sudah terlalu lazim, terlalu literal, cetek dan
dangkal telah ditolak.

20
Pemenang Tempat Kedua Mohd Najib Ahmad - Lonely Girl 2009

EXHIBITONHIGHLIGHTS
REVIEW
EXHIBITION

mengajar (didaktik atau berkhutbah). Nada

sebegini sesuai dengan lenggok visual dan ciriciri ekspresi masyarakat Timur terutama sekali
orang Melayu. Penggunaan teknik cetakan
simen dan kaedah telepuk juga merupakan
satu keunikan yang bukan saja relevan dan
sesuai dengan tema, malah boleh dianggap
berani dan yakin jika dibandingkan dengan
penggunaan teknik, stail dan gaya pengolahan
catan yang lebih selamat, selesa, popular
dan lazim.
Karya Wan Zaida menampilkan pendekatan
teknik tekstil yang jarang ditonjolkan dalam
pengkaryaan catan arus perdana. Pendekatan
ini sesuai dengan ciri-ciri keceriaan, kekaguman,
kerencaman dan kenaifan yang berkait dengan
pengalaman dikelilingi alam sejadi semasa
zaman kanakkanak. Nada riang yang diterbitkan
oleh olahan jalinan rupa, bentuk dan corak yang
kaya menjadi pengimbang dan penyeri kepada
himpunan karya-karya lain yang lebih sugul.
Dalam kebisingan hirukpikuk karya-karya lantang
Perlu juga dinyatakan di sini bahawa karyakarya bersifat kritikan sosial, komentar politik
dan pendekatan eksintensialis memang sudah
menjadi pilihan ramai pengkarya kontemporari
tempatan dan antarabangsa, terutama sekali
selepas 1990an. Tema sosial, politik dan polemik
jiwa seolah-olah sudah menjadi satu house style
untuk pengkarya semasa, terutama yang muda.
Terdapat juga keluhan dan rintihan tentang krisis
moral, nilai dan jati diri Kebangsaan.
Secara tidak langsung, tema dan isu sosio- politik
mungkin menggambarkan hargayang perlu
dibayar oleh kita semua dalam mendepani
cabaran semasa dan masa hadapan, terutama
sekali yang berkaitan dengan arus globalisari,
ekonomi pasaran bebas dan terjahan teknologi.
Dari satu sudut, hal ini dapat dibaca sebagai
suatu penanda kepada hakikat bahawa
para pengkarya sentiasa peka terhadap
aspek batiniah manusia, bukan saja aspek
pembangunan material yang sering ditekankan
dalam sloganslogan politik pembangunan. Dari
sudut yang lain, persoalan ini mendatangkan
kesan ironik kerana kebanyakkan para
pengkarya mengamalkan pendekatan
seni yang hadir dari ideologi, falsafah dan
epistimologi ilmu yang turut menyumbang
kepada krisis yang diperkatakan.
Terdapat juga karya-karya yang meniru (bukan
memetik atau mentafsir-semula) beberapa
pendekatan formal, gaya dan teknik para
pengkarya lain yang ternama di Malaysia.
Penggunaan teknikteknik splashing, dripping,
splattering dan komposisi subjek figura dan alam
benda dalam struktur gubahan geometrik yang
telah digunakan oleh para pengkarya ternama
seperti Jalaini Abu Hassan, Ahmad Shukri
Mohamed dan Zulkifli Yusoff juga dapat dikesan.
Selalunya ia lebih bersifat kosmetik dan penokoktambahan yang sebenarnya tidak diperlukan.
Walaupun hal ini tidak begitu digalakkan,
namun terdapat juga beberapa karya sebegini
yang dirasakan bermutu dan berpotensi untuk
digilap dalam bentuk yang baru. Karya-karya
sebegini juga telah dipilih, sekurang-kurangnya
untuk pameran.
Proses ketiga adalah pemilihan karya-karya
terbaik yang menekankan faktor 4, 5 dan 6
di atas. Untuk peringkat ini, para hakim juga
mengambil kira faktor x atau kualiti unik pada
sesebuah karya. Antaranya termasuklah :
> Kejujuran dan keberanian dalam menampilkan
isu, tema atau persoalan yang jarang
ditonjolkan,
> keberanian dan kefasihan dalam
menggunakan pendekatan formal yang

mencabar kemahiran dan menguji minda,

termasuklah menggunakan bahan, teknik,
kaedah, stail, dan gaya yang jarang diamalkan

tentang masalah sosio-budaya dan politik, sifat

keceriaan dan keraian yang ditonjolkan pada
karya ini amat mendamaikan.

> kepintaran dalam membaca atau melihat dan

menggambarkan sesuatu isu atau persoalan
yang lazim menerusi perspektif yang baru dan
mencuit minda

Karya Rusmadi Kamaluddin sangat sinis,

sinikal, lucu, mengusik dan pedas sindirannya.
Pendekatan formal karya ini juga sangat
sederhana. Namun, faktor yang paling mencubit
minda dan mengusik perasaan adalah sikap
pengkarya yang sangat santai, berani mati
dan bersahaja dalam penghasilan karya.
Sikap ini dirasakan amat sesuai dengan subjek
yang dipaparkan, terutama sekali dalam
penggunaan remaja wanita berbaju kurung
yang ironik dan tulisan cina yang mencubit
minda. Rusmadi juga dengan beraninya
menolak penggunaan kemahiran yang lazimnya
dikaitkan dengan catan kerana lebih memberi
penumpuan kepada menampilkan situasi yang
ironik. Penggunaan imejan fotografi memerlukan
ia ditafsir menerusi sudut semiotik, bukan lagi
formalistik catan.

> kekuatan nilai emosi dan garapan visual yang

menggugah perasaan
> pertimbangan yang berkaitan dengan
kepentingan Kebangsaan terutama sekali
dalam soal budaya
Sebanyak 13 karya telah dipilih diperingkat
ini. Selain dari kekuatan dalam empat faktor
yang dinyatakan di atas, karya-karya ini juga
menampilkan faktor x atau keunikan yang
tersendiri.
4. Ulasan Beberapa Karya Pilihan
Terdapat beberapa karya pilihan yang wajar
diulas dalam laporan ini, selain dari pemenang
tempat pertama, kedua dan ketiga.
Karya-karya Mohd Faizal Md. Suhif, Wan Zaida
Wan Samidin dan Noriza Arzain sangat berbeza
jika dibandingkan dengan majoriti karya-karya
lantang yang membawa tema kritikan sosial,
politik dan konflik peribadi. Ketiga-tiga mereka
menampilkan pentafsiran terhadap budaya,
warisan dan kelestarian alam yang lazimnya
kurang ditonjolkan dalam arus perdana amalan
seni tampak kontemporari.
Mohd Faizal dan Noriza menggunakan
pendekatan formal yang ringkas dan sederhana
tanpa terperangkap dalam kecelaruan visual
dan kekecohan penyampaian isu yang sering
dialami oleh pengkarya muda. Pendekatan
sederhana mereka dilaksanakan secara penuh
keyakinan dan dalam nada yang puitis, tenang,
berlapik, bertamsil, dan halus. Mereka juga tidak
tunduk pada godaan untuk menghasilkan karya
yang terlalu mahu menunjuk-nunjuk atau mahu

Karya-karya Koo Kok Hooi, Nor Alisa Jamaluddin

dan Ken Ghee Chung lebih eksistensialis atau
memaparkan konflik kejiwaan yang nadanya
agak gelap, murung, sugul dan penuh
kontradiksi serta ketegangan. Karya-karya
ini lebih menekankan kesan emosi dan
pembacaan psiko-analisis, terutama yang
berkaitan dengan tekanan proses urbanisasi dan
kemajuan material.
Karya Abdul Latiff Ahmad Padzali yang
mendapat tempat ketiga, menampilkan
kemahiran menggubah yang tinggi, kreativiti
dalam pengolahan bahan dan kefasihan
teknikal yang cemerlang. Pembuatannya rumit
namun kemas. Pencemaran dan kemusnahan
fitrah alami diungkap menerusi penggunaan
bahan industri. Pemilihan subjek ikan todak
yang diolah menjadi seakan makhluk cyborg
memperjelaskan lagi akibat dari pembangunan
industri yang tidak mengambil-kira kelestarian
alam.

21

Pemenang pertama, Wee Chiang Lung seakan

berada dalam liganya yang tersendiri. Karya ini
sangat unik, bukan saja dari segi teknik dan
gaya pengolahan, tetapi juga dari segi garapan
temanya. Wee Chiang Lung berbicara tentang
kekaburan dan kesukaran membuat pentafsiran
terhadap sesuatu perkara. Pentafsiran dan
kefahaman yang berkaitan dengan budaya,

Pertandingan ini boleh menjadi pelantar baru

yang strategik untuk mencungkil bakat-bakat
baru dan menggalakkan konsistensi dikalangan
pengkarya Malaysia umumnya. Ini bergantung
kepada pihak Galeri Seni Johor yang perlu
membuat tinjauan dan kajian perbandingan,
termasuklah pertandingan seni tampak
terbuka yang lain seperti di Pulau Pinang dan
Terengganu. Ia juga perlu membina rangkaian
yang lebih professional dengan semua pihak
yang terlibat secara aktif dengan seni tampak
kontemporari tempatan dan antarabangsa.
Selain dari keperluan ruang galeri (atau
bangunan) yang lebih professional, Galeri Seni
Johor juga memerlukan anjakan ke arah kualiti
pengurusan yang lebih efisien dan kepimpinan
seni tampak yang lebih matang.
Pertandingan ini juga perlu diurus dan dipakej
secara lebih professional agar ia sejajar dengan
nilai hadiah yang ditawarkan. Ini termasuklah
penekanan terhadap pengurusan pameran dan
kuratorial, pendokumentasian, penyuntingan,
penerbitan buku dan penganjuran aktiviti
sokongan dalam bentuk keilmuan dan
kemasyarakatan. Dengan anjakan pengurusan
yang lebih professional, dan sesuai dengan
kedudukannya yang berhampiran dengan
Singapura, pertandingan ini boleh menjadi
prelud untuk menaikkan Johor Bharu sebagai
pusat perkembangan seni kontemporari yang
baru bagi Malaysia, selain dari Kuala Lumpur.

termasuklah budaya kebangsaan sesebuah

negara misalnya, tidak mungkin dicapai dengan
mudah tanpa sebarang usaha untuk membina
pertalian, pertautan dan hubungan antara
satu titik dengan titik yang lain. Titik-titik ini boleh
dibaca secara semiotik sebagai unsur-unsur
yang berantaian dan saling melengkapi.
Imejan sekawan figura yang kelihatan seperti
berbangsa Inggeris diolah dalam gabungan
gaya realistik, ilustratif, karikatur dan komikal.
Penggunaan warna dalam skala kelabu
mengizinkan Chiang Lung memberi tumpuan
terhadap olahan kualiti jalinan yang begitu
cermat, halus, teliti dan rumit. Kesemua figura
kelihatan seperti manusia tiruan atau patungpatung berkulit licin dalam pelbagai ekspresi
dan bahasa tubuh. Mereka seakan sedang
cuba memahami imejan tidak lengkap
(imej bunga dalam pasu) ditengah-tengah
permukaan gubahan. Secara tidak langsung,
Chiang Lung mungkin menyarankan bahawa
pentafsiran dan kefahaman terhadap budaya
Malaysia tidak mungkin menjadi lengkap tanpa
usaha untuk menghubungkan rantaian titik-titik
yang saling berkaitan. Gambaran mahupun imej
lengkap tentang sesebuah negara itu juga tidak
boleh diperolehi serta-merta.
Karya Chiang Lung sarat dengan subteks
budaya yang melingkari isu-isu berkaitan
dengan kedudukan nilai dan budaya

REVIEW

5. Kesimpulan
Secara umumnya, saya berpendapat bahawa
kualiti karya-karya dalam Pertandingan Seni
Tampak Terbuka Johor 2009 menjanjikan
potensi yang positif dalam menyemarak
dan meningkatkan lagi aktiviti seni tampak
kontemporari di negeri Johor. Begitupun, ia
masih belum dapat menandingi Pertandingan
Bakat Muda Sezaman mahupun Salon Malaysia
yang mampu menarik penyertaan yang
mencabar minda, mengusik perasaan, berani
meneroka pendekatan baru, kreatif dan menguji
kemahiran.

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 1

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 11

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 111

Tahniah kepada semua pemenang dan yang

terpilih untuk pameran. Syabas kepada Galeri
Seni Johor dan Yayasan Kesenian Johor. Hasnul J
Saidon November 2009, Muzium & Galeri Tuanku
Fauziah, Universiti Sains Malaysia, Pulau Pinang

Dengan anjakan
pengurusan yang lebih
professional, dan sesuai
dengan kedudukannya
yang berhampiran dengan
Singapura, pertandingan
ini boleh menjadi prelud
untuk menaikkan Johor
Bharu sebagai pusat
perkembangan seni
kontemporari yang baru
bagi Malaysia, selain dari
Kuala Lumpur.

Images courtery: Komuniti Pelukis Hutan Bandar.blogspot.com

EXHIBITON

Karya Mohd Najib Ahmad yang mendapat

tempat kedua, meninggalkan kesan emosi yang
mendalam. Karya ini agak senada dengan
karya Nor Alisa. Namun demikian, ianya
berbeza dari segi pemilihan dan pengolahan
subjek, komposisi, gaya atau stail, teknik dan
pengolahan bahannya. Sekiranya Nor Alisa
lebih menekankan permainan visual menerusi
pengolahan jalinan teks-teks yang bertindan,
pendekatan Mohd Najib dirasakan lebih
berkesan. Beliau berjaya menggambarkan
bukan saja senario fizikal yang dramatik,
tetapi juga landskap jiwa yang penuh dengan
gambaran kebuntuan komunikasi, kesunyian,
kesepian, kesugulan, kesuraman dan kesedihan.
Gambaran dramatik dan naratif krisis urbanisasi
ini diperkukuhkan lagi oleh olahan graffiti
dinding subjek kanak-kanak perempuan yang
separa lutsinar. Kontradiksi antara kelusuhan dan
ketepuan yang sering menandai kehidupan
pasca moden metropolis diterjemahkan dengan
berkesan menerusi pengolahan kualiti jalinan.
Kontradiksi antara kebisingan dan kehilangan
makna dalam hiruk-pikuk komunikasi era I.T juga
dapat dirasai.

Kebangsaan dalam kancah globalisasi dan

relativisme budaya. Karya Chiang Lung
adalah karya yang pintar, ringkas, kemas dan
sarat dengan saranan-saranan semiotik yang
membolehkan ianya ditafsir dengan
pelbagai cara.

EXHIBITION HIGHLIGHTS

Keseluruhan persembahan disampaikan dalam

kesatuan formal dan pertimbangan estetik yang
kukuh dan amat menyakinkan.

BSLN Publication

enBLOC

SYED AHMAD JAMAL :

PELUKIS
Buku ini memaparkan perjalanan
Seniman Negara (Datuk Syed
Ahmad Jamal), ketika kecil
sehinggalah beliau mencapai
kegemilangannya yang tersendiri
dalam bidang seni tampak.
Penerokaan idea dan kreativiti seni
beliau dikagumi bukan setakat di
Malaysia tetapi juga dipersada
dunia. Sebagai seniman terawal
yang mendapat anugerah
melanjutkan pengajian dalam
bidang seni lukis ke luar Negara,
beliau merupakan seorang
seniman perintis seni visual yang
mencorakkan sejarah dan senario
seni lukis Negara ke tahap
berdaya saing
600 halaman m/s
154 Gambar hitam-putih
78 Gambar berwarna
ISBN : 978-983-3497-43-0

REVIVAL Evoking the

Batik Tradition
Katalog ini menghimpunkan
karya-karya oleh 3 orang
pelukis tanahair iaitu Chuah
Thean Teng, Tay Mo Leong
dan Khalil Ibrahim yang
sangat popular disekitar
tahun 1950an dan 1960an.
55 halaman m/s
45 karya berwarna
ISBN 983-9572-73-3
RM 20

AIAE- ASIAN
INTERNATIONAL ART
EXHIBITION
Katalog terbitan BSLN
menjurus kepada Asia@Asia
Memanifestasikan Kepelbagaian
kerana sebagai usaha untuk
membangkitkan kesedaran
pelukis-pelukis kita tentang
perubahan-perubahan yang
sedang melandakonteks budaya
dan sosial masingmasing,
ruang di mana mereka kerap
menimba ilham dan idea untuk
pengkaryaan seni tampak.
49 Gambar karya berwarna
6 Gambar karya hitam putih
22 Gambar foto berwarna
ISBN : 978-983-3497-44-7

Pameran
adalah sebuah
wadah persembahan batik yang
teristimewa. Dalam mendirikan sebuah
pameran batik sebagai pengisian
kepada Kuala Lumpur International Batik
Week 2009, Kementerian Penerangan,
Komunikasi dan Kebudayaan melalui
Balai Seni Lukis Negara terpanggil untuk
mengambil peranan selaku peneraju
pembangunan seni Visual Negara untuk
mencetus inspirasi kreativiti dan inovasi
menerusi kesinambungan tradisi.
90 Gambar blok batik hitam putih
Planner 2010
ISBN : 978-983-3497-46-1
RM 88

SENIKINI EDISI ISTIMEWA

ISU 01 - 04
Majalah berwarna yang
mempromosikan aktiviti seni
semasa. Diterbitkan 6 kali
setahun.
RM 50 (Satu set)

NEW!

RM 25

RM 250

NEW!

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

23
TASWIR - Pictorial Mappings of
Islam and Modernity
5 Nov 2009 - 18 Jan 2010
Martin-Gropius-Bau, Berlin
www.ha-atelier.de

Rhythm of the 21st Century exhibition at GALERI

PETRONAS showcases the latest artworks by
Raja Shahriman Raja Aziddin. The exhibition
is the seventh solo exhibition for the artist
and features 20 major sculptures, drawings
and paintings. Though the concept of the
exhibition is based on war, indicated through
the representations of armour and ammunitions,
the underlying notion of Rythmn of the 21st
Century is about the innate human nature that
constantly engages in prevalent conflicts in this
new century, taking cues of what transpired
throughout the ages.

Taswir - Pictorial Mappings of Islam and Modernity is an exhibition

organized by the Berliner Festspiele at the Martin-Gropius-Bau that
takes a contemporary look at Islamic forms of visual expression. The
exhibition focuses on three major themes: Calligraphy, Ornament
and Miniatures. It places specimens of classical Islamic art in the
context of modern and contemporary practice in the fields of
graphics, drawing, painting, photography, video art, installation,
sound and sculpture. The exhibition examines the visual and
performative aspects of writing as an art form in its own right,
addressing the structural and political aspects of ornamentation
and presenting figurative forms of Persian and Mogul miniature
painting from a narrative and poetic perspective.

WHATS

Rhythm of the 21st Century: Monologues of Raja

Shahriman
29 Oct 2009 - 24 Jan 2010
Galeri Petronas, KLCC
03-2051 7770
webmaster_galeri1@petronas.com.my

DA VINCI - THE GENIUS

1 Oct 2009 - 17 Jan 2010
Pusat Sains Negara
(National Science Centre),
Bukit Kiara KL

COLLECTORS EXHIBITION BY
1ST & 2ND GENERATION ARTISTS
29 Nov 4 Dec 2009

03- 2092 1159, 03- 7665 1977

www.davincithegenius.com
Direct from Italy, this world acclaimed exhibition
from the Il Genio de Leonardo da Vinci Museo
brings to life Leonardos genius as an inventor,
artist, scientist, anatomist, engineer and
architect. Now also including the new and
revealing Secrets of Mona Lisa exhibit from Paris,
Da Vinci - The Genius is the most comprehensive
exhibition ever assembled on the greatest mind
that ever lived. An amazing experience and
inspiration for the whole family.

Galeri Seni Mutiara,

Pulau Pinang
11am 6pm Daily
04-262 0167,
koaysookau@gmail.com
www.galerisenimutiara.com
COLLECTORs CUBE
1 Jan - 28 Feb 2010
Shalini Ganendra Fine Art, KL
03-7958 2175 (by appointment)
www.shaliniganendra.com

THE WORD BY PHEH IT HAO

5 - 26 December 2009

Shalini Ganendra Fine Art presents an exhibition

of works from the Collectors Cube collection,
available for viewing convenience through the
website and on site.

Artfolio, Jelatek KL
Mon - Sat. 10am - 6pm
Closed on Sunday & Public Holidays
Tel: 03-42521339
www.artfolio.com.my

The Collectors Cube is an innovative and

dedicated exhibition that offers discerning
collectors the opportunity to purchase vetted
works offered by the Gallerys Clients or from the
Gallerys collection.

RSVP: Denise Lee 016-2207828 /

artfolio21g@yahoo.com

The current exhibition offers works by Jalaini Abu

Hassan, Bayu Utomo Radjikin, Jolly Koh, Yau Bee
Ling, Chan Thim Choy, and others.
Prices start at RM 1,000.

Karya Pemenang
MAJOR

ON LIFE AND DEATH

10 Dec 2009 - 30 Mar 2010
Fukuoka Asian Art Museum,
Japan, 092-263-1100,
faam_e@faam.city.fukuoka.jp
Birth, illness, age and then death - such life stages
are all well documented in art. Featuring works
such as Thai artist Chatchai Puipias depiction
of his father on his deathbed, and Chinese artist
Song Yongpings photos of his ill parents, this
exhibition explores human life and death via the
motifs of birth, life and death.

SARAWAK ARTISTS SOCIETY

25th ANNIVERSARY SHOW
12th - 31st December 2009

LUCHA NO LIBRE: A SOLO

EXHIBITION BY C.K KOK
28 Nov 12 Dec 2009

Sarawak Muzium, Dewan Tun

Abdul Razak Hall, Kuching, Sarawak
019-8165368
geralgo@hotmail.com

Metro Fine Art Gallery, Legend Hotel KL

Mon Fri 11:30am 5:30pm,
Sat 11am 4pm
03-40422224, metrofineart@yahoo.com
www.metro3gallery.com

Sarawak Artists Society is celebrating

its 25th anniversary this year. This 25th
Anniversary Show is the collaborative effort
of the members showcasing their latest
developement in Art and will be another
milestone in the history of art for the state.

A tribute to the Mexican art of wrestling which

made headlines in Hollywood via the comedy
film Nacho Libre, Kohs subjects include colourful
masks, and the acrobatics and rapid sequences
of holds and moves of wrestling.
It also highlights fake wrestlers who camouflage
their lack of skills with tricks and proclamations.
The mask of wrestler represented the
unsurpassed dignity. At times, wearing a mask is
to protect their frail truth.

TO ADVERTISE IN

Mohd Azli bin Walid

Lagu Nak Leleh
Mixed Media,
274.5 x 61 x 91.5cm

PLEASE EMAIL TO...

Throught the years, Sarawak Artists Society

has proven its role in raising the standard of
Art for its members.

a solo exhibition by

PAMERAN SENI LUKIS TERBUIKA PESTA

PULAU PINANG 2009
03 Disember 2009 - 15 Januari 2010
Balai Seni Lukis Pulau Pinang
Pameran ini dilaksanakan untuk memberi
pendedahan dan peluang kepada
penduduk - penduduk tempatan serta
pelancong-pelancong asing agar dapat
melihat dan menghayati karya-karya yang
telah dihasilkan oleh pengkarya-pengkarya
tempatan yang menyertai pameran
pertandingan ini. Namun objektif utama
pertandingan ini diadakan bagi menwujudkan
peluang kepda pengkarya-pengkarya untuk
mengetengahkan bakat dan usaha mereka
dalam arena seni tampak terutama dari segi
perkembangan aliran seni kontemporari yang
terkini seperti dari segi penggayaan hasil
karya, teknik dan aliran aplikasi bahantara.
Tema Muzik Menerusi Spektrum Seni dipilih
kerana tema ini memberikan suatu kelainan
kepada para peserta dimana mereka perlu
mengaplikasikan elemen muzik dalam
penghasilan karya seni tampak.

C.K.Koh

wening@artgallery.gov.my

RE-COVER STORY :
BENNYLITA NASUTY
RAMLEE
Benon and The Sidekicks from What
the Hoot, is a presentation of me, myself
and people around me, whether I know
them long ago and just met recently.
They could be family members, friends
of a friends and even silent foe. In my
real life, I always face characters and
stories, whether it is happy or sad ones.
That doesnt scare me to meet more new
people, whether they are old or young,
big or small, pretty or weird, black or
white, nice or rascal because we are here
to love each other, not to make war.

Benon is my first Owls in What the

Hoot series that Ive made; as an icon
of long-lost love towards drawing and
appreciation to all hardworking people
in the universe. Besides drawing and
painting, I write and make short films
too. My subject in filmmaking and
writing are local fairy and folk tales and
focus on whimsical characters such as
owl, moon, fairies, dragon, Bigfoot, little
people, mermaid, scarecrows, carousel,
circus, treehouse and rainbow. Benon
and The Side Kicks are owl-people who
love small and wonderful things happen
around them and to encourage more

people to appreciate their childhood

memories. Fairy and Folk tales are very
close to us when we are a child. Same
goes to drawing and doodling. It is
better to pick up your pen or crayon and
start doodle rather than pick up your
machine gun to blast your anger.

ON

Artists: Lee Cheng Yong, Khaw Sia,

Kuo Ju Ping, Yong Mun Sen, A.B.
Ibrahim, Chia Hui Chian, Chia Yu
Chia, Ho Khay Beng, John Lee Joo
For, Tan Choon Ghee, Tay Hooi Keat

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