Malaysian art now

#09
>ISMAIL HASHIM: PAMERAN RETROSPEKTIF
>ROBERT RAUSCHENBERG: Yang Teragung
>
>MALAYSIAS FIRST ART AUCTION
RECORDED SALES IN EXCESS OF RM1.7M
>SEBUKIT BINTANG:
Stars On The Hill
AEM 2010 REVIEW
C O N T E N T S
FEATURES
04 Ismail Hashim: Pameran Retrospektif
06 Robert Rauschenberg: Yang Teragung
IN CONSERVATION
08 Art Conservation: So Much To Learn
EXHIBITION HIGHLIGHTS
10 Lim Ka Seng: Melancholy Musings
ARTIST IN RESIDENCE
11 AEM 2010 Review
FEATURES
12 Persidangan Seni Hao : Cabaran dan Pasaran Seni
Kontemporari Asia Tenggara
ARTIST IN RESIDENCE
13 Soh Boon Kiong : Pelukis Residen Baru
di Universiti Malaya
CREATIVE INDUSTRY
14 Malaysias First Art Auction : Recorded Sales In
Excess of RM1.7M

INTERVIEW
15 The Henry Butcher Art Auction
ART REVIEW
16 The Translation of 2010 The 1st Next Super Star
ARTIST IN RESIDENCE
17 Monolog Bakir Baharom
17 Majlis Pertubuhan Kebudayaan Cina Malaysia (MCCS)
menyambut Ulangtahun ke-33 serta penyampaian
Anugerah Kebudayaan ke-6
CURAT.O.R
18 Sebukit Bintang: Stars On The Hill
20 BSLN Sana Sini
21 BSLN 2010 Calendar
22 BSLN Publication

23 Whats On
Editorinc.
can be accessed at www.artgallery.gov.my/senikini
Any feedback and comment please email to us at:
anis@artgallery.gov.my
The publisher, National Art Gallery Malaysia,
holds the copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserved.
Copyright2010 SENIKINI Malaysian Art Now
Printed in Malaysia.
PUBLISHER
Balai Seni Lukis Negara
National Art Gallery Malaysia
Ministry of Information,
Communication and Culture Malaysia
No 2. Jalan Temerloh
Off Jalan Tun Razak
53200 Kuala Lumpur
MALAYSIA
P : 603 4026 7000
F : 603 4025 4987
w w w . a r t g a l l e r y . g o v . my
l EDITOR-IN-CHIEF Ambassador Dato Mohd Yusof Ahmad l EDITOR
Zanita Anuar l DEPUTY EDITORS Alizam Hasan & Anis Amizan Hussein
Lim l ASSISTANT EDITOR | CONTRIBUTORS/WRITERS Safrizal
Shahir, Faizal Sidik, Dr. Nicole Tse, Ooi Kok Chuen, CN Liew, Ben Jaafar,
Lim Ai Woei, Tan Hui Koon dan Jessica Ho | DESIGNERS Nuzaihan
Mustapa & Norhaslina Ahmad Kamsin l PHOTOGRAPHY Mohd Fitri Abd
Rahman & Mohd Ariesman l
COVER :
Bagi SABRI IDRUS, tujuan pembuatan
objek instalasi interaktif ini adalah
untuk mengajak masyarakat dan
dikembangkan dengan keyakinan
bahawa peranan mereka sebagai
warga menjadi sangat berkesan ketika
mereka boleh menuntut ruangan
awam dan membuat tindakan yang
menentukan ruangan awam.
Dengan memberikan estetika dalam
bentuk nyata dan material pembuatan,
karya seni harus diuji dengan
menempatkannya secara zikal (taman
bermain) di mana kegiatan masyarakat
berlangsung, dan mencadangkan
strategi improvisasi hidup secara positif.
Greetings and warm regards!
It is my pleasure to present you our last issue for this year, SENIKINI#9!
Though the last few months have been very hectic, it had also been most satisfying.
With all the programs, exhibitions and art-related activities that we have organized and
participated in and out of the gallery, 2010 is defnitely a year to remember.
2010 has also been a bumper year for art sales with artworks making unprecedented
record transactions at the Henry Butcher auctions amounting to RM 1.7 million. Further
more, a whopping RM 11.3 million in sales was recorded at the four day 4th Art Expo
Malaysia (AEM) 2010 in October. This is very much in line with the governments call to
make Malaysian contemporary art a tourism attraction with the hope of increasing the
sales of local artworks.

We are also fnalizing our art-related activities and exhibitions scheduled for 2011-2013.
The public can expect to see more highlights from our national collection which, after
53 years, deserves to be revealed in its full glory as our proud modern visual heritage.
The collections are artistic and cultural testaments to our growth and development
as a modern nation. The national collection, together with our latest acquisitions, is
also statements of what we hope to achieve as a nation in the next 50 years. We will
continue to feature special exhibitions from abroad and cater to suitable requests to
showcase works, events and activities.
We have lined up numerous workshops, art-talks featuring artists and special guests
as well as other art-related activities to better serve students, visitors and art-lovers in
general. The public can expect to see more publications, new merchandise, products and
services too. This is our new years resolution and commitment to you, our stakeholders
and clients.

In this issue, we have contributions from USMs School of Art academician Safrizal
Shahir on veteran photographer Ismail Hashims long awaited retrospective in Penang
which I had the opportunity to view. Also, Dr. Nicole Tse from the University of
Melbournes Centre for Cultural Material Conservation who was here recently to conduct
a workshop at NAG shares with us some important information on art conservation in
Asia. Our regular contributor Ooi Kok Chuen keeps us abreast on the activities in the
local art industry with his review on AEMs outstanding commercial success this year. In
addition, he also highlights lesser known but veteran painter, Lim Ka Sing on his latest
solo exhibition entitled Mother Nature.
Our curators, Faizal Sidik continues with features on selected artworks and artists from
the national collection, this time, by the late prominent American Pop artist Robert
Rauschenberg, whose paintings in our collection are among our most prized-possession.
Faizal, (with Tan Hui Koon) also recently attended the 2nd HAO Summit in Singapore
and writes about the experience.
Lim Ai Woei, who attended the 33rd anniversary celebration and award ceremony of
the Malaysian Chinese Culture Association, provides us with a brief background of the
association and the nights event. Finally, Tan Hui Koon sheds some light on the artist
who painted the huge mural at the infamous Pudu Jail which is now being demolished to
make way for urban development projects.

As always, I look forward to your continuous support, constructive criticisms and helpful
suggestions to the positive improvement of our National Art Gallery. Thank you.
Merry Christmas and a Happy New Year!

Ambassador Dato Mohd Yusof Ahmad
Editor-In-Chief
THE PARK OBJECT 2010, Aluminium, Stainless Steel,
Resin, Slate, Plastic Pigment and Bearing, 90 cm
diameter.
The mask occupies a very
unique place throughout
Mexican culture. It is not limited
solely to festivities and religious
celebrations. As I worked in my
photographic project on the
wrestlers in Mexico, this
became increasingly evident.
They are like the point of the
arrow that leads us to
understand the diversity of
myths surrounding the mask.
In fact, it is the wrestlers in
Mexico that have brought the
symbol of the mask into
modernity within our culture.
From a practical point of view,
there is no distance anymore
between its daily use and its
most profound references.
Topeng merupakan objek
budaya Mexico yang amat
unik dan tidak terhad
kepada penggunaan
keagamaan dan adat
istiadat sahaja. Kenyataan
ini semakin ketara
semakin hari saya
menyusuri projek fotograf
bersama ahli gusti Mexico.
Mereka seakan anak
panah atau petunjuk bagi
kita memahami
kepelbagaian mitos
disebalik topeng tersebut.
Ternyata sekali bagaimana
ahli gusti Mexico inilah
yang bertanggungjawab
bagi kesinambungan
budaya dan simbolisme
topeng dalam era moden
ini. Dari sudut praktikal,
sememangnya tiada
jurang lagi di antara
kegunaan harian dan
keistimewaan perwakilan
budayanya.
LOURDES GROBET
Galeri
Gallery Reka
30 Nov. -
30 Dis. 2010
www. ar t gal l er y. gov. my
Masuk Percuma
Free Admission
upakan objek
xico yang amat
ak terhad
ggunaan
dan adat
aja. Kenyataan
ketara
ri saya
projek fotograf
li gusti Mexico.
kan anak
petunjuk bagi
F
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04
Ismail
Hashim adalah seniman visual
serba boleh yang dilahirkan
di Pulau Pinang pada tahun 1940. Beliau
mendapat pendidikan seni secara formal di
Universiti Sains Malaysia (USM) pada tahun
1972, dan merupakan kumpulan pelajar
pertama yang memperolehi Ijazah Sarjana
Muda Sastera (Seni Halus) dari USM. Beliau
kemudiannya melanjutkan pelajaran ke
Washington State University, Amerika pada
tahun 1977 dan dianugerahkan Ijazah Sarjana
Seni Halus pada tahun 1979. Apabila kembali
ke Malaysia, beliau telah berkhidmat sebagai
pensyarah rekabentuk grak dan fotogra di
USM, bermula dari tahun 1979 sehingga 1995.
Pameran seni retrospektif Ismail Hashim ini
mengetengahkan lebih dari 50 buah karya
seni terbaik yang pernah dicipta oleh beliau
dalam pelbagai genre visual semenjak lebih 35
tahun lepas. Keunikan Ismail Hashim sebagai
seorang seniman visual terletak kepada
versetailitinya menghasilkan karya seni dari
genre catan, lukisan, seni cetak dan juga
fotogra. Beliau juga turut menghasilkan karya-
karya rekaan grak seperti tipogra, ilustrasi
dan logo.
Beberapa karya fotogra dan logo beliau telah
memenangi hadiah dalam pelbagai peringkat
samada di dalam atau di luar negeri. Salah satu
rekaan logo beliau yang paling diingati adalah
logo asal Belilah Barang Buatan Malaysia, yang
memenangi hadiah utama Kempen Belilah
Barang Buatan Malaysia pada tahun 1985. Logo
tersebut telah digunakan secara meluas dalam
kempen dan produk-produk tempatan pada
tahun 1980-an dan 1990-an.
Kekuatan utama Ismail Hashim adalah dalam
bidang fotogra. Karya-karya fotogra beliau
boleh dikategorikan sebagai fotogra seni.
Karya-karya fotogra beliau terletak kepada
kepekaan dan penelitian mendalam beliau
terhadap idea dari subjek yang ingin beliau
ketengahkan. Selain itu karya beliau juga
terletak kepada nilai komentar sosial yang ingin
diketengahkan. Idea dan subjek karyanya
diangkat dari alam di sekeliling, kegiatan sehari-
hari atau pemandangan sosial di persekitaran.
Idea dan subjek-subjek yang biasa tersebut telah
diterjemahkan oleh Ismail Hashim dalam karya
fotogra beliau yang adakalanya bersifat lucu,
kritis atau romantis.
Komentar sosial yang wujud dalam karya fotogra
Ismail Hashim telah dipersembahkan dalam nada
artistik. Nilai artistik ini telah menjadikan setiap
karya fotogra beliau begitu unik dan tersendiri
dari segi teknik dan persembahannya. Beliau
telah menggunaan teknik pelukisan tangan
secara sepuh (glazing) yang halus dan terperinci
di atas karya cetakan fotogra hitam putih.
Teknik dengan kemahiran tersendiri ini telah
membuatkan karya beliau memberi kesan visual
dan kontras yang unik dan berbeza.
Kekuatan karya fotogra beliau telah
menempatkan beliau sebagai seorang peneraju
utama bidang fotogra seni di Malaysia semenjak
dari pertengahan tahun 1970-an sehingga kini.
Sifat konsistensi dan minat yang begitu mendalam
terhadap praktis seninya itu telah meletakkan
beliau sebagai antara seniman paling utama
dalam konteks seni moden Malaysia.
Ismail Hashim adalah seorang seniman
yang sebenarnya telah lebih dari 40 tahun
bergelumang dengan praktis seni visual.
Penumpuan beliau terhadap pelbagai bidang
seni visual ini menggambar tahap perkaitan
beliau yang serius dalam bidang seni.
Pameran Retrospektif ini diadakan bagi
menghimpunkan semula karya-karya terbaik
beliau dalam bidang yang disebutkan di atas.
Pameran ini juga diadakan untuk meninjau
semula pencapaian, nilai dan tahap yang
telah dikecapi oleh Ismail Hashim lewat
karya-karyanya. Dalam konteks yang lain,
pameran retrospektif adalah merupakan
suatu penyataan penghargaan kepada
seniman yang telah menunjukkan sikap dan
sifat kesenian yang terpuji dan berdaya maju.
Melalui pameran ini kita didedahkan dengan
paparan karya-karya Ismail Hashim yang
disifatkan sebagai berkualiti tinggi, unik dan
tersendiri.
Dari segi idea dan paparannya, karya-
karya Ismail Hashim ingin berdialog dengan
pemerhati. Melalui penyataan ini kita dapat
melihat bagaimana Ismail Hashim telah
menggunakan pendekatan representatif
aktual untuk mencurahkan idea beliau.
Beliau begitu selesa berkarya dalam atau
melalui pendekatan representatif. Akibat dari
faktor tersebut, secara langsung atau tidak,
beliau telah menggunakan juga kaedah
komentar sosial dalam memerikan subjek
yang terlihat dipandangannya. Sifat aktualiti
dan kebenaran benda, bahan dan subjek
telah menjadi ramuan utama beliau untuk
memerihalkan subjek yang wujud dalam
karyanya.
Karya beliau secara terselindung mempunyai
beberapa lapisan makna atau konteks.
Karya-karya seni Ismail Hashim mempunyai
nilai dan kualiti melampaui penyataan
visual yang biasa. Ia berupaya membawa
pemerhati kepada pemikiran dan rasa yang
lebih mendalam atau berbeza. Konteks
dalam karya-karya Ismail Hashim adakalanya
mengandung sifat dualiti yang begitu
mengujakan, iaitu ideanya begitu serius,
namun cara bentukannya telah memberi
dimensi humor yang amat tajam. Keadaan
inilah yang memberi sifat unik, berbeza dan
tersendiri bagi karya-karya Ismail Hashim. Cara
gaya (trademark) beliau ini begitu dikenali
dan dihargai akibat sifat dan elemen keunikan
dan perbezaan yang telah disebutkan.
ISMAIL HASHIM :
PAMERAN RETROSPEKTIF
l Safrizal Shahir
Coke Series II NA Fotogra 58.5 x 150.1 cm BSLN2003.046
Enviroment Graphics 1984 Fotogra 67 x 55.5cm BSLN1984.006
Logo Belilah Barangan Buatan Malaysia hasil karya oleh
Ismail Hashim pada tahun 1985
Dapur Minyak, Dapur Gas, Jerang Air, Goreng Cucur 1990
Fotogra 47 x 47cm BSLN1998.019
Making Faces 1997 Cat air atas kertas 51 x 62cm
BSLN1998.029
One Million Deaths 1982 Poster Design for IOCU

F
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05
Melalui pameran ini juga kita dapat melihat
kualiti kemahiran dan penumpuan yang amat
mendalam dan tajam oleh Ismail Hashim
dalam setiap karyanya. Penumpuan beliau
terhadap sifat perincian karya secara serius telah
membuatkan karya-karya itu benar-benar kental
dari aspek kualiti, bentuk dan tekniknya. Di atas
merit tersebut maka Ismail Hashim layak diiktiraf
sebagai seniman fotogra penting dan utama
dalam perkembangan seni moden Malaysia.
BIOGRAFI
1948 Born in 111 Lebuh Maksuri,
Sg. Nibong Kechil,
11900 Penang
EDUCATION
1960 Language Institute,
Kuala Lumpur
1963 University of Manchester,
United Kingdom
1967 Specialist Teachers Training Institute,
Kuala Lumpur
1972-75 Universiti Sains Malaysia,
Penang, (B.A (Hons))
1977-79 Washington State University,
USA, (M.F.A)
AWARDS
1974 Minor Prize-National Printmaking
Competition
1975 Major Prize-National Photography
Competition
1975 Minor Prize-ACCU Photography
Exhibition, Japan
1976 Minor Prize-ACCU Photography
Exhibition, Japan
1978 Merit Award-Miliken Carpet Design, USA
1979 Minor Prize-International Photo Show,
New York
1985 Major Prize-Buy Malaysian Logo
Competition
1986 Minor Prize-Malaysian Sports
Council Logo Competition
1990 Major Prize-National Happy Family
Photograph Competition
SOLO EXHIBITIONS
2008 yang tu yang ni, Galeri Seni Mutiara,
Penang
2005 Going Bananas and Rezeki Batang
Pisang, 2 person show, Adiwarna
Gallery
1993 Solo Exhibition, Novotel Hotel,
Penang
SELECTED GROUP EXHIBITIONS
2009 Remembering Kampung Buah Pala,
Galeri Seni Mutiara Penang
2009 Pameran Tahunan 45, Kumpulan Seni
Lukis Guru-Guru Pulau Pinang
2007 Merdeka at 50, Galeri Seni Mutiara,
Penang
2007 The Prelude (art auction Malaysia)
2006 Oasis, Academic Staff of school of Fine
Arts Art Show, Universiti Sains Malaysia
2005 tm:mo (terbuka Malaysia :
Malaysia open), Balai Seni Lukis Negara,
Kuala Lumpur
2004 Asian Invitational Show, National
Art Gallery, Kuala Lumpur
2003 Water: The First Element Art Show,
National Art Gallery, Kuala Lumpur
2003 Cobi Mela II Festival of
Photography, Bangladesh
2002 Over Time, photography show, Badan
Warisan Malaysia, Kuala Lumpur
2001 Transisi : The Dynamic Passage of the
Penang Teachers Art Circle,
Petronas Gallery, Kuala Lumpur
City Centre (KLCC)
1998 Pameran Senilukis Antarabangsa Asia
ke-13, Balai Seni Lukis Negara
1998 Our Heritage to Cherish, Badan Warisan
Malaysia, Kuala Lumpur
1997 Isu (Issues), photography show, Creative
Centre, National Art Gallery
1996 The Good Years, photography show,
Regent Hotel, Kuala Lumpur
1993 Asia-Pacic Triennial of Contemporary
Art, Queensland Art Gallery, Australia
1994 Melihat Semula Seni Lukis
Moden Malaysia
1992 Asian Art Biennial, Bangladesh
1991 South of the World The Other
Contemporary Art, Milan, Italy
1986 Side by Side-works by Malaysian British
artist, National Art Gallery, Kuala Lumpur
1984 Asean Mobile Exhibition, touring 5
Asean countries
1981 Asean Mobile Exhibition, touring 5
Asean countries
1980 Pameran 10 tahun Universiti
Sains Malaysia
1979 Photography Show, New York, USA
JUDGES
2009 Pertandingan Bakat Muda Pulau
Pinang, Pesta Pulau Pinang
1999 Pertandingan Seni Fotogra,
Balai Seni Lukis Negara
1997 Anugerah Senilukis Malaysia Asean Art
Awards, Kumpulan Syarikat Philip Morris
1990 Wajah-wajah Malaysia, Pameran Seni
Foto sempena Tahun Melawat Malaysia
1988 Pertandingan Bakat Muda Sezaman,
Balai Seni Lukis Negara, Malaysia.
PUBLIC COLLECTION
Balai Seni Lukis Negara
(National Art Gallery), Malaysia.
Muzium dan Galeri Tuanku Fauziah, USM
Universiti Sains Malaysia
PETRONAS
BALAI SENI LUKIS NEGARA & The
Retrospective Exhibition of Ismail
Hashim
The last time Ismail Hashim, artist, photographer
and a former member of our Board of Trustee
had exhibited with us was in 2005, in the National
Open Show entitled TM : MO or Terbuka Malaysia:
Malaysia Open exhibition held in our new site on
Jalan Temerloh off Jalan Tun Razak.
His rst exhibition at the Balai Seni Lukis Negara
was in the 1968 Salon Malaysia. Back in the early
80s, as our gallery staff, photographer Azidi Amin
recalls, He would take the train from Penang
and arrive at our doorstep. He was active in the
ASEAN mobile exhibition or travelling exhibition
and became a regular guest to our gallery, photo
studio and shared our darkroom often. It maybe
that a few of the prints dated c1990s shown in the
retrospective may have been printed in Balai Seni
Lukis Negara darkroom in the former Hotel Majestic
building on Jalan Sultan Hishamuddin. One of it
is The Splendour and Squalor (Kebanggaan &
Keselekehan), 1997. The charming hand tinted
gelatin-silver print entitled Kongsi Raya Dec 1999,
Heritage Hotel, Kuala Lumpur is a photograph
he had taken on one of his journeys, made by
invitation of Balai Seni Lukis Negara. At that time
he was invited to translate Redza Piyadasas text
for the infamous book Rupa Malaysia. According
to Azidi, Ismail Hashim and Eric Peris, as curators
of Pameran Fotogra Sebagai Seni in 1996, made
art history at the Balai Seni Lukis Negara when for
the rst time a National Photography Exhibition
held at Balai Seni Lukis Negara did not offer prizes.
Moreover, he worked alongside Azidi and Abd
Hamid Othman throughout the nights and placed
stringent color-proong rule to the 118 artworks
in the catalogue resulting to the rst high picture
quality photography catalogue ever published
by us.
A total of eight out of nine works of Ismail Hashim
from the Balai Seni Lukis Negara Permanent
Collection was displayed at the Retrospective
exhibition. Our Director General Ambassador
Dato Mohd Yusoff Ahmad visited the exhibition
with Collections Curator, Amerrudin Ahmad and
managed to meet the artist and also to be
introduced to his brother Rahman, whose ink and
wash portrait, Adikku Rahman, 1972, is part of our
Permanent Collection.
With the kind permission from the Balai Seni Lukis
Pulau Pinang, Balai Seni Lukis Negara is able to
begin the pilot documentation program, known as
DOKU 7 (72 hours) on the retrospective exhibition
of Ismail Hashim. The Doku 7 is a unique version of
the typical making of videos in its objective:
To document the creative process/hype/angst
of the artist and art curator 72 hours before the
opening of an iconic art exhibiton/project.
To observe and record various professional,
sociological and psychological negotiations and
conict resolution strategies in the making of an
iconic art exhibition/project.
To prepare documents as lessons/case studies
for further
improvement of
curatorial skills in
managing iconic
art exhibitions/
project.
Our video crew
consisted of
Yuzaini, Khazrul
and Fitri who had
spent 72 hours
with the artist
and curator, and
was blessed with
a reward by the
artist himself after
the exhibition.
Ismail Hashim
invited them to
accompany him
the next day to
document the
morning.
Hebat Juga Permandangan Jambatan Pulau Pinang!...
Dengan Jerebu Lagi!! 1997
Hand-tinted B & W gelatin silver hand-prints
61 x 92 cm BSLN2009.004
Bila Perang Semua Orang Menderita 1991 Fotogra 84 x 65 cm
BSLN1998-017
Pandangan Basikal, Basikal Buruh 1979 Hand-tinted photographs
107 x 79 cm BSLN1998.02
Adikku Rahman 1972 Dakwat 47 x 52 cm
BSLN1998.018
Ismail Hashim menerangkan hasil karyanya.
Rahman Hashim bersama potret karya oleh Ismail Hashim.
F
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06
Harimau
mati meninggalkan
belang, manusia mati
meninggalkan nama. Sungguhpun begitu bagi
Robert Rauschenberg (1925-2008) kelahiran Texas,
yang telah meninggal 2 tahun lalu beliau bukan
sahaja meninggalkan nama dipersada dunia
malah karyanya juga dalam Koleksi Balai Seni
Lukis Negara. Karya beliau yang bertajuk Yang
Teragung atau Malaysian King (Gambar 1) ini yang
dihasilkan pada 1990 menggunakan akrilik dan
cetakan sutera saring di atas permukaan kanvas
merupakan sebuah karya besar, pelukis yang paling
bertenaga dalam seni lukis moden barat dikatakan
hero dalam seni lukis Amerika yang berstatus
bintang selebriti.
Rauschenberg di awal kariernya merupakan pelukis
yang memperkenalkan teknik Combine Painting
iaitu teknik cantuman antara catan dengan
objek jumpaan di mana beliau telah membuka
laluan baru bagi ekspresi artistik. Dalam karya
kolaj berunsurkan Seni Pop atau Seni Popular pula
selepas itu beliau menggunakan kemahiran teknik
ini dalam menghantar mesej isu politik dan sosial.
Beliau pernah berkata Peranan artis adalah
menjadi saksi terhadap sejarah masa. Sepanjang
hidup beliau banyak menghasilkan karya-karya
komentar terhadap peperangan, persamaan
hak, perlucutan senjata nuklear, Dasar Apartied,
pembangunan ekonomi, hak artis dan isu alam
sekitar yang menurutnya tema-tema yang para
artis patut ditekankan pada hari ini.
Oleh itu pada tahun 1983 beliau telah
mengumumkan secara rasmi di Pertubuhan
Bangsa-Bangsa Bersatu PBB satu projek yang
dibiayainya sendiri dalam misi mempromosikan
keamanan sejagat menerusi pertukaran budaya
dimana beliau melawat dan bekerja di negara
lawatannya itu dengan menggunakan material
dan kemahiran pada setiap negara tersebut untuk
menghasilkan karya.
Program Pertukaran Antara Budaya Rauschenberg
yang dikenali sebagai ROCI (Rauschenberg
Overseas Cultural Interchange) merupakan
pameran yang dihasilkan oleh Rauschenberg bagi
menyelami budaya setiap negara hos di samping
menganjur dan mempromosikan keamanan
dunia dan kesedaran budaya yang dipromosikan
olehnya.
Projek pameran bergerak ini bermula pada tahun
1985 dan mengambil masa selama enam tahun
membawa beliau ke
beberapa buah negara
di benua Asia, Eropah
Timur dan Amerika Selatan
antaranya Mexico, Chile,
Venezuela, China, Jepun,
Cuba, bekas Soviet Union,
bekas Jerman Timur
(Berlin Timur) dan juga
termasuklah Malaysia.
Johan Jaafar pernah
mengambarkan dalam
penulisan ruangannya
dalam sebuah akhbar
mingguan bahawa
semasa penghantaran
kargo karya beliau
yang ditaja oleh Sistem
Penerbangan Malaysia
(MAS) dengan lori kontena
daripada Lapangan
Terbang Antarabangsa
Subang masa itu untuk
dipamerkan di Balai
Seni Lukis Negara lama
(Hotel Majestic) di Jalan
Sultan Hishamuddin iaitu
berhampiran dengan
Stesen Keretapi Kuala Lumpur KTM, berlaku
kesesakan yang amat luar biasa kerana kawalan
ketat yang diberikan oleh pasukan polis bukan
sahaja dari aspek kawalan lalulintas jalan raya
malah helikopter di udara juga terpaksa digunakan
sebagai langkah keselamatan, begitulah fenomena
impak kehadiran karya-karya Rauschenberg di
Kuala Lumpur.
Dalam penjelajahan di Malaysia, Rauschenberg
mengambil gambar dan dibantu oleh
pembantunya untuk mengambil gambar video
merakamkan pengalaman apa yang ditemui
beliau pada setiap lokasi pameran. Sebagai
pameran bergerak yang memakan masa selama
6 tahun, disamping Rauschenberg menghasilkan
karya pada setiap negara hos dalam pamerannya
itu, beliau juga menghadiahkan karya kepada
setiap negara yang dilawati dan menerbitkan
katalog pameran (Gambar 2) yang melibatkan
sumbangan penyajak, penulis dan jurnalis
tempatan.
Karya Yang Teragung merupakan salah satu karya
yang telah dihadiahkan oleh yayasan beliau iaitu
Robert Rauschenberg
Foundation untuk
dijadikan koleksi Balai
Seni Lukis Negara
daripada pameran
Rauschenebrg Overseas
Culture Interchange atau
ROCI yang diadakan
di National Gallery of
Art, Washington D.C.
pada 12 May hingga 2
September 1991 dimana
ia mempamerkan
60 buah catan, 21
arca, 60 fotogra, 30
grak dan 15 video
pinjaman sebahagian
daripada penjelajahan
antarabangsanya itu.
Sungguhpun begitu
terdapat 4 lagi buah
karya selain karya Yang
Teragung yang beliau
hasilkan sepanjang
lawatannya ke sini
semasa program ROCI
Malaysia pada tahun
1990 antara nya yang
bertajuk Bunga Manggis
(Mangosteen Flower)
(Gambar 4), Tuak
Hudok-Iban (Rice Wine
Dog) (Gambar 5), Home
Run(Gambar 6) dan
Malaysian Flower Cave
(Gambar 7) merupakan
koleksi National Gallery of Art, Washington D.C.
yang boleh saya katakan kembar kepada karya
Yang Teragung atau Malaysian King. Ketiga-tiga
karya awal tadi tidak diketahui samaada masih
berada di dalam yayasan beliau atau ditangan
kolektor persendirian.
Dalam karya yang Yang
Teragung Rauschenberg
memperlihatkan sifat
kepelbagaian yang ada
di Malaysia dari segi politik,
ekonomi dan sosio budaya
dari segi bahasa serta
kepercayaan. Rauschenberg
menggunakan elemen
popular politik seperti bendera
Malaysia dan negeri-negeri
yang terdapat didalamnya
untuk memperlihatkan bahawa
Malaysia merupakan negara
yang berdaulat yang diperintah
oleh Yang di Pertuan Agong
dan kumpulan sistem kerajaan
sembilan negeri-negeri beraja
disamping Menteri Besar dan
Ketua Menteri masing masing.
Perletakan bendera negeri-
negeri di Malaysia boleh juga
dilihat sebagai perjalanan dan
pengembaraan beliau ke negeri-
negeri tersebut dan gambaran-
gambaran popular yang beliau
perolehi semasa berada di lokasi itu contohnya
pengangkutan awam popular di Pulau Pinang
pada waktu tersebut iaitu beca, perkampungan
nelayan berlatarbelakangkan pokok kelapa di
Kelantan, imej aktiviti pemunggahan barang di
pelabuhan, mungkin Pelabuhan Kelang, Selangor
dan pelantar minyak di Sarawak,
Gambar 1, Robert Rauschenberg Yang Teragung/Malaysian King ROCI / MALAYSIA 1990 Akrilik dan fabrik atas besi galvani 244 cm x 488 cm
BSLN1990.027
ROBERT RAUSCHENBERG :
Yang Teragung l Faizal Sidik
Gambar 2, Katalog pameran ROCI / MALAYSIA di Balai Seni Lukis
Negara pada 21 Mei -24 Jun 1990
Gambar 3, Rauschenberg dalam lawatan ke Tokong Ular,
Pulau Pinang
Gambar 4, Bunga Manggis (Mangosteen Flower)
ROCI/MALAYSIA 1990
Gambar 5, Tuak Hudok Iban (Rice Wine Dog)
ROCI / MALAYSIA 1990
07
Pameran 45@45 adalah sebuah pameran sempena
ulangtahun ke 45 tahun penubuhan Balai Seni
Lukis Negara yang mempamerkan 45 karya yang
signikan dalam koleksinya termasuklah karya
Yang Teragung yang dipilih oleh 45 orang yang
mempunyai pelbagai latar belakang, dikuratorkan
oleh Zanita Anuar pada 2003 di Balai Seni Lukis
Negara, Ng Sek San arkitek seni bina landskap
mengatakan pengkaryaan beliau begitu intim
sekali menggunakan bahantara harian dan objek
jumpaan. Karya beliau memperlihatkan beliau
sebagai pecinta kedamaian yang melangkau
sempadan dan lebih relevan sebagai artis pada
hari ini yang hidup dalam order baru dunia yang
penuh kacau bilau. Buah-buah ikon di Malaysia
seperti durian, rambutan dan mangga juga menjadi
subjek yang menarik bagi Rauschenberg dalam
karyanya ini. Durian sebagai raja segala buah
dianggap sebagai trademark buah-buahan dalam
menggambarkan negara ini.Tanah perkuburan
Islam dan imej senibina kuil jelas
menunjukkan bahawa walaupun
agama rasmi di sini adalah
Islam namun agama-agama
lain bebas untuk mengamalkan
kepercayaan mereka.
Dalam karya Yang Teragung
dan Malaysian Flower
Cave, Rauschenberg telah
memperkenalkan satu lagi
lapangan baru dalam seni
pop iaitu apa yang dikatakan
Pop Art Fabric atau Seni Pop
Fabrik bahawa bahan-bahan
yang digunakan dalam karya
ini iaitu akrilik dan fabrik atas
besi galvani dilihat daripada
gabungan gerakan ekspressionis
abstrak dan seni pop yang
mungkin dipengaruhi oleh karya Flag (1954-1955)
daripada rakannya, Jasper John. Terdapat banyak
persamaan atau perkongsian imej yang boleh
dibuat perbandingan antara kedua-dua karya ini.
Perkongsian imajan semasa kembara beliau di
negara ini dalam kedua-dua catan boleh dilihat
dalam imej Beca Pulau Pinang dan Perkampungan
Nelayan (Gambar 1a). Karya Yang Teragung imej
beca hitam putih ia boleh dilihat di bahagian kiri
sebelah atas dan perkampungan nelayan juga
secara hitam putih yang mempunyai sapuan berus
yang kasar berwarna merah bersebelahan bendera
Kelantan yang juga berwarna merah. Pengulangan
imajan ini boleh juga diperhatikan dalam Malaysian
Flower Cave di bahagian atas sebelah kanan
dengan bidangan warna akrilik berwarna jingga
(Gambar 7a).
Di beberapa bahagian yang lain seperti imej
pelantar minyak dan kuil di dalam karya Yang
Teragung boleh diperhatikan di bahagian kiri
di mana ia dilihat seperti pencawang elektrik.
Pelantar berwarna merah terdapat imej pokok
getah yang berwarna putih dan diatasnya bendera
negeri Sarawak (Gambar 1c) iaitu sebuah negeri
di Malaysia Timur yang kaya dengan sumber asli
terutamanya minyak. Kuil yang berwarna merah
terdapat di bahagian kanan dalam karya Yang
Teragung (Gambar 1d). Manakala karya Malaysian
Flower Cave, kedudukan perletakan imej ini
sebelah menyebelah dan bukan itu sahaja malah
perletakan imej itik seperti motif itik pulang petang
dalam ukiran Melayu tradisional yang berwarna
putih dan pokok getah kuning kejinggaan juga
boleh dilihat dalam petakan rician ini (Gambar 7b).
Satu lagi jumpaan yang menarik untuk dikongsi
antara kedua-dua karya ini yang mempunyai
kaitan dengan karya terkenal iaitu Canyon 1959
(Gambar 8) iaitu sebuah karya catan kombinasi
yang sangat dikenali ramai dalam sejarah seni
yang membabitkan nama beliau. Karya media
campuran ini, Rauschenberg melakukan inovasi
baru dalam teknik kolaj yang bermain dengan
ilusi optik objek 2 dimensi dan 3 dimensi. Selain
membahagi karya ini dengan petakan, grid
secara vertikal dan horizontal dengan objek-objek
jumpaan. Apa yang menarik dalam karya ini
adalah gantungan bantal yang terjurai di bahagian
bawah sebelah burung helang mempunyai
kesinambungan yang begitu mempengaruhi karya
dari segi penggunaan imej juntaian tali yang boleh
disaksikan dalam karya Yang Teragung (Gambar
1e) dan karya Malaysian Flower Cave (Gambar 7c).
Karya Yang Teragung penggunaan gantungan tali
kren dapat disaksikan dalam proses pemunggahan
barang dagangan di pelabuhan. Karya Malaysian
Flower Cave dapat dilihat seperti longgokan buah
kelapa muda yang diikat pada jaring.
Kita mungkin biasa melihat provokasi dalam
demostrasi di media massa terutamanya di kaca
televisyen bagaimana peserta yang berdemostrasi
membakar atau memijak-mijak bendera
negara tertentu bagi menimbulkan sentimen
yang mungkin boleh menimbulkan kekacauan
dan ketidaktentuan. Penggunaan bendera
begitu dominan dalam karya Yang Teragung
penggunaan bendera dilihat merupakan lambang
yang terakhir digunakan bagi artis dalam
menyampaikan mesej. Ia juga boleh dilihat satu
simbol yang tertinggi atau ikonogra yang
teragung dalam sesebuah negara.
Balai Seni Lukis Negara mungkin
boleh memikirkan bagaimana
hubungan diplomatik antara
Kuala Lumpur Malaysian King
boleh kongsi dengan Washington
Malaysia Flower Cavedengan
menerusi karya catan ini di masa
akan datang, agar kita dapat
melihat kedua-dua karya ini dapat
diperlihatkan semula dalam satu
bumbung bagi mengeratkan lagi
hubungan luar antara kedua-dua
negara, bukan dalam konteks
politik sahaja tetapi seni.
Mark Vallen Robert Rauschenberg
1925-2008 dalam http://art-for-
a-change.com/blog/2008/05/
rober-rauschenberg-1925-2008.
html Koleksi National Art Gallery, Washington DC -
http://www.nga.gov/fcgi-bin/tinfo_f?object=72836
Katalog pameran 45@45, Balai Seni Lukis Negara
Malaysia, Kuala Lumpur, 2004, ms 114-115.
Gambar 6, Home Run ROCI/MALAYSIA 1990
Gambar 7, Malaysian Flower Cave ROCI/MALAYSIA 1990
Akrilik dan fabrik atas besi galvani 306.8 cm x 367.7 cm
Koleksi: National Gallery of Art, Washington D.C., (1991.76.8)
Hadiah daripada Robert Rauschenberg Foundation
Gambar 7a, Jarak dekat imej beca dan kampung nelayan dalam
karya Malaysian Flower Cafe Gambar 8, Robert Rauschenberg Canyon 1959
Combine painting: cat minyak, pensil, kertas,
fabrik, metal, kotak cardboard, cetakan kertas,
cetakan reproduksi, fotogra, kayu, tiub catan,
dan cermin atas kanvas, dengan cat minyak atas
burung helang awet, tali dan bantal;
86 3/4 x 70 x 24 in
Sonnabend Collection, New York
Gambar 7b
Jarak dekat imej pelantar minyak dan kuil dalam karya
Malaysian Flower Cave
Gambar 1c
Gambar 1d
Jarak dekat imej pelantar minyak dan kuil dalam karya
Yang Teragung/Malaysian King
Gambar 1a, Jarak dekat imej beca dan kampung nelayan dalam karya Malaysian Flower Cafe
Gambar 1e
Gambar 7c
Jarak dekat imej gantungan
barang dalam Yang
Teragung Jarak dekat imej
gantungan barang dalam
Malaysian Flower Cave
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08
Twentieth century Southeast Asia
saw the uptake of oil and acrylic painting by
many artists. Paintings have now become
a major area of focus for national galleries
and private collectors and so too is their
preservation. Their preservation however, is not a
straightforward task.
In the rst instance, these paintings comprise
of materials and techniques derived from
art making practices developed in Western
Europe, but which were produced and housed
in tropical climates. Often the formulations of
imported artists paints include materials suited
to temperate climates such anti-freeze agents
(obviously not important here unless you store
your paintings in the freezer!), and yet do not
contain adequate proportions of biocides or
preservatives which in fact, maybe important in
the tropics.
Another concern is the impact of the climate
on paints. We know increased temperatures
causes hard and quick drying paint lms. High
relative humidity keeps paint lms more exible
but in the long term hardens them too. And
mold is another concern. Further the urban
centres of most Southeast Asian cities add
high sulfur dioxide levels to the equation which
causes acidic decay. These are just a few of
the climatic concerns impacting on oil and
acrylic paints. Although something is generically
known, the precise mechanisms and which ones
occur in preference to others is not completely
understand. This leaves conservators working in
Southeast Asia with many questions to address
and while signicant knowledge exists on the
ageing of oil and acrylic paints overseas, the
information can not be simply applied to the
climatic environments pertinent to Southeast
Asia. Many conservators, therefore rely on
educated diagnostic skills to understand the
deterioration mechanism specic to oil and
acrylic paints in the tropics, share information and
have started some important research that aims to
develop regionally relevant knowledge that answers
question important to the collections they care for.
As such Balai Seni Lukis Negara is part of a research
network and research project to develop new
knowledge and enhance the practice of art
conservation in Southeast Asia. APTCCARN (Asia
Pacic Twentieth Century Conservation Art Network)
was inaugurated in 2008 at BSLN and includes
conservators and museum professionals from Malaysia,
Singapore, Thailand, Macau, Australia and New
Zealand (see Seni Lukis edition ? Amers article). In
2011 we will present a panel
at the ICAS/AAS Symposium in
Hawaii to further our work. Another
research project investigates
The 20th Century in Paint that
utilises expertise and collections
from ten public institutions, four
universities across four continents
and 20 researchers from Malaysia
(Amerrudin Ahmad, Zanita Anuar),
Thailand, the Philippines, the UK,
USA and Australia (myself as the
Post Doctorate Fellow). In 2011 we
plan to present an international
symposium on unconventional and
modern materials at BSLN. Overall
a principal goal of APTCCARN
and the research program is to
ll the gaps in our knowledge
and ensure regionally relevant
material conservation solutions are
developed for Southeast Asian
art collections. It aims to inform
conservation treatment practice,
environmental parameters in
gallery environments and best
practice for contemporary artists
in the preparation of their paint
materials.
Conservation practice in the tropics: How can we
understand the way a painting ages?
How then can conservators and museum
professionals understand the way a
painting is deteriorating for it to be around
for as long as possible? The answer is not
straightforward. There is a whole gamut of
reasons why paintings deteriorate starting
from the materials the artist chooses; how
the artist combines their materials (ie. their
technique); how the materials interact
alone and with one another according to
environmental factors; how the painting
has been cared for, for example its
previous climatic conditions of exposure;
whether the painting has been exposed
to changes in climate through intermittent
use of air conditioning or relocation; and
whether it has been repaired or treated in
the past. As paintings are each created
individually and their history of care is not
identical, they all deteriorate and it is from
this perspective that preservation and
conservation approaches are devised.
Attempting to answer all the above
questions is a daunting task. As previously
mentioned there is little known about the
materiality and deterioration of Southeast Asian paintings
apart from some recent studies (Tse 2008, Halim 2010,
Ahmad 2011, Cruz 2008, Ebert 2008 to name a few).
There are occasions when materials analysis can answer
questions but not all of them. Consulting art historical
documents, museum records and artists diaries can
also provide information. But the most important source
of information is through discussions with artists. Whom
better to tell you what materials they used, in how many
layers, what brand of paint they prefer, how the materials
interacted and later aged. This is why conservators like
to talk to artists so they are better equipped to conserve
their works of art should the need arise and better still,
what measures the artist prefers conservators to use. For
example, some artists may prefer a stained appearance
on their work as it tells a story and thus may not want
it removed. It is critical for conservators to know this
and document it for the future. For the same reason,
conservators will enquire about whether the collector
turns their air conditioner on and off, whether they open
their windows or curtains and whether they have social
events where a painting is displayed. Do not worry,
conservators are not prying about your personal life, we
are just trying to understand the history behind a painting.
Materiality of Paintings and types of deterioration in the
tropics
Here I would like to provide just a few examples about
the materiality of paintings and the way they deteriorate
and present some of the research ndings to date.
The source of materials used in paintings is an important
way of understanding artistic practice and the
deterioration of paintings. In the collection of BSLN, an
artists colourmen stamp with the name Joyo (Figure
1) was identied on Datuk Mohd. Hoessein Enas 1962
work Dua Beradik (Two Sisters)(Figure 2). Printed in
black along the top edge it reads joyo canvas, 5m/
45 c, MADE IN JAPAN and CANVAS., demonstrating
the origin of the canvas as well as the fact that it was
intended for an international market as the text is
written in English. Does this suggest that Datuk Mohd.
Hoessein Enas preferred using Japanese art materials
and was possibly introduced to them during Japanese
occupation? This of course requires much further
investigation but is one fraction of evidence of which
other studies can be based. In terms of deterioration and
given the known composition of many imported artists
colourmen materials, the canvas support used by Datuk
Mohd. Hoessein Enas was likely to have been prepared
with a glue size layer before the white ground layer was
applied.
1
Glue size layers are very reactive in humid
conditions and will cause upper paint layers to ake off,
which is consistent with the types of cracks observed in
this work.
Another example relates to the deterioration of a
painting identied on Yong Mun Sens 1946 Temple
Dieties, also part of the BSLN collection (Figure 3). Figure
4 of the paintings surface illustrates an intact paint lm
with no apparent deterioration issues. Analysis, however
of what is occurring below the surface tells another story.
Figure 5 is a small particle of paint the size of a full stop
prepared as a cross section for analysis. An analytical
technique called Scanning Electron Microscopy
Electronic Dispersive Spectroscopy (SEM-EDS) has
identied the elements in the paint layer and the pink
layer shows a high proportion of zinc, carbon, oxygen,
iron, manganese and calcium (Figure 6). This suggests a
zinc stearate (Zn(C18C35O2)2 or metallic soap, produced
from the white pigment zinc oxide when it reacts with the
oil binding media. Further analysis of the pink layer with
a SEM-EDS back scattered image shows outward crystal
growth (Figure 7) and Synchrotron Radiation FTIR (Fourier
Transformer Infrared) indicates a metal soap with a peak
at 1540cm-1 and the suppressed yield of the carbonyl
peak at 1740cm-1, also conrming the presence of
metallic soaps. When metal soaps are present in a paint
Figure 1: Figure 5: Joyo colourman stamp identied on Datuk Mohd. Hoessein Enas, Dua Beradik (Two Sisters,) (1962), oil on canvas,
1123 x 910 mm, Malaysia, National Art Gallery, acc. no. 221965.81. Photo: Nicole Tse.
Figure 8: Artist Colourmen Silpakorn University Paints, Material Research Centre for Art and Design,
Silpakorn University, Thailand.
Figure 9: Artist Colourmen Silpakorn University Paints, Material Research Centre for Art and
Design, Silpakorn University, Thailand
Art Conservation:
so much to learn l Dr. Nicole Tse
09
layer, it is very brittle and the paint lm forms little pockets of
metallic soaps producing a honey comb type structure. So in this
instance, it tells us the paint lm is very vulnerable and cracks can
form very quickly eventhough the upper surface appears perfect.
One last example relates to the brand of oil or acrylic paint an
artist uses, and whether it is of artist or industrial paint quality.
Artists acrylic paints comprise of quite stable co-polymers of ethyl
acrylates or n-butyl methacrylate with methyl methacrylate.
Household emulsion paints obtained from a DIY stores can
contain acrylic polymers, poly vinyl acetate (PVA) and other
synthetic polymers (Learner 2004). We know that such the
vinyl emulsions paints are not as stable as the acrylics but
when coupled with the environmental factors of the tropics,
we still need to know more about the unique mechanisms
of deterioration taking place. To learn about deterioration
mechanisms in more detailed, often studies of known paint
samples are undertaken. We are undertaking such a study on
the Silpakorn University brand of artist oil and acrylic paints in
collaboration with Assoc. Professor Supanee Chayabutra and her
team (Figure 9) to investigate their ageing properties in tropical
climates (Figure 10). As Dr Supanee developed the range of
paints, the composition of the paints is known and thus we are
able to track the ageing processes of paints systematically to
understand the unique mechanisms and the impact of climate on
their behaviour. Further the Silpakorn brand of artists oil and acrylic
paints comprise a higher proportion f biocides and preservatives
to protect the paint lms from biodeterioration compared to other
artists colourmen brands.
This is just a small picture of the different avenues of enquiry
professional conservators undertake in their work. It is a complex
task of unraveling the materiality of paintings and their unique
ageing characteristics, but a very rewarding task. So do not
be surprised if a conservator contacts you to ask questions
about the production of a work of art or the way it has been
cared. Anecdotal evidence is very important and a valid way
of understanding paintings. If any of you have any information
relevant to the degradation of works of art or the materials,
Amerrudin Ahmad (BSLN) or myself (Nicole) would be most
appreciative.
Thank you for reading.
Dr Nicole Tse
nicoleat@unimelb.edu.au
Centre for Cultural materials Conservation,
The University of Melbourne
____
1
Although this is a Japanese Artist Colourmen supplier, there is a long tradition of oil
painting practice in Japan inuenced by French academic practices. Given this, it is
assumed the practice of applying a glue size layer to protect the textile canvas support
from the oil ground layer was employed.
References
Ahmad, A 2011 (in press) details???
Cruz, L, Salvador Paz, J, Soriano, M, 2008
Establishing deterrents to help reduce
forgery practices and help secure the
authenticity of Philippine Paintings, in J
Bridgeland (ed.), ICOM Committee for
Conservation, 15th Triennial Conference, 22-
26 September, New Delhi, Allied Publishers
Pvt. Ltd., New Delhi.
Ebert, B 20?? I need to get this reference
Halim, S 2009 Uncovering the artist behind
the painting: Anthony Poons materials,
techniques and inspirations in Light and
Movement Portrayed, Singapore Art
Museum, Singapore, p. 239-250.
Learner, T 2004 Analysis of Modern Paints,
J.Paul Getty Trust, California.
Tse, N 2009, The Characterisation of Canvas
Paintings in Tropical Environments, PhD
Thesis, University of Melbourne.
Acknowledgements
Dr Nicole Tse is a recipient of an Australian Research
Council (ARC) Post Doctoral Fellowship supported by
the ARC Linkage grant The Twentieth Century in Paint
(LP0883309) in collaboration with ten collaborative
partners including the National Art Gallery of Malaysia.
This research was undertaken on the Infrared beamline
at the Australian Synchrotron, Victoria, Australia.
I would like to acknowledge Claire Heasman, CCMC
Masters Student for the SEM-EDS analytical data.
Figures
Figure 3: Yong Mun Sen. Temple Deities, 1946, Oil on
canvas board, framed, 1093 x 862 x 35cm, National Art
Gallery of Malaysia. Accession No. 1994.10.
Figure 8: FTIR spectra of pink layer 2 from cross section of
Yong Mun Sen, Temple Deities, 1946.
Figure 9: Artist Colourmen Silpakorn University Paints,
Material Research Centre for Art and Design, Silpakorn
University, Thailand
Figure 10: Natural ageing of Silpakorn Pradit Oil Paints,
Silpakorn University
Figure 2: Datuk Mohd. Hoessein Enas, Dua Beradik (Two Sisters), 1962, oil on canvas, 1123 x 910 mm,
Malaysia, National Art Gallery, acc. no. 221965.81.
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Figure 5. Cross section of Yong Mun Sen, Temple Deities, 1946, National Art Gallery Malaysia, 100x.

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

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

Figure 4: Bottom right corner detail of Yong Mun Sen (b.1896 - 1962). Temple Deities, 1946. Surface of paint is intact
however the internal structure is weakened by the presence of metallic soaps.
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In
Mother Nature, Lim Ka Seng has
gone full throttle into total abstraction
although he had dabbled with Cubism
during the 1970s. It also marked the rst time
he painted exclusively in acrylic on canvas
after moving into oil on canvas from an
established reputation as a watercolourist.

This abstract detour came about after he
looked like veering into painting gures with
slightly thin limbs in his Neighbourhood solo
exhibition, his fourth, in 2007. The focus was
on feminine domestic wiles and maternal
instincts, all against darkened interiors and in
the oil medium.

The exhibition, Mother Nature, was held at
the Professor Galleria in SS2, Petaling Jaya,
the timber-cladded loft gallery at artist-
entrepreneur June Yaps Professor Uniforms
shoplot in November-December.

His previous four solos since 2002 were all at
the City Art Gallery.

Ka Seng, 66, had done works in semi-
abstract before this. Notably, the ower
bouquets and even in some Hill View Series
works in his 2002 solo, and in the Music
and Dance Series in his 2005 Analytical
Paintings solo. More so, in his Recent
Paintings solo in 2003 featuring stilt-house
topography with obfuscating shades of
patchwork forms.

But in Mother Nature, Ka Seng has slid into
a ponderous Expressionistic reverie with a
poetic empathy to Nature the clouds,
the wind, the rivers and the mountains,
symbolising life and its edifying qualities.
They are rendered not so in their physical
forms but as internalised innermost feelings
into broad strokes and colours.

Its not surprising that his works were
individually inspired by specic poems of
William Wordsworth, Edgar Allan Poe, Emily
Dickenson and Bloomsbury vanguard Clive
Bell, but they were not done in the illustrative
way.

Besides the literary allusions, there are also
elements of music simmering through, as
Nature and music are often inextricably
linked. These are more melancholic strains
and even at times discordant notes, as the
works registered a phase of life afrmations
after some serious health concerns.

His lines are decidedly jagged and serrated
but purposeful, with the broad strokes brush-
marked with uneven and raw intensity of
pigments and hues. Even the rhythm, in odd
areas, comes off as a bit erratic rather than
one predictable.

His works in a stream of consciousness
gear range from the darker moods of It
Was An April Morning, Fresh and Clear and
Imaginings Within My Imagining to the more
serpentine squiggles with an alabaster-white
splotch in Dancing And Fluttering In The
Breeze.

A Soft October Night is a melancholy trip of
diagonal lines with almost luminous glow with
naturally tendril capillary drips, while in Moving from
Cheer to Joy, the vein-like lines streak out from the
sides.

Span of Life, the Mother Earth cover piece, shows a
phalanx of different-coloured lines hurtling upward,
independently, in ambiguous space, suggesting
struggles and ambivalent emotions.

Ka Seng, born in Port Weld (the present-day
Sepetang) in Perak 66 years ago, received his early
tutelage in art (Chinese ink painting, watercolours
and oil) under Tan Guan Hin, from 1961 to 1964, after
which he had a uncompleted correspondence
course in watercolours. Guan Hin, who was trained
in art in Taiwan, was a student of amboyant
pioneer artist Khaw Sia (1913-1984).

Ka Seng eked a living as a hawker, printer-designer
before a more stable 30-year career with the
Southern Bank, retiring in 2000 as bank manager.

Upon retirement, he spent more time on painting,
delving into various media like oil and then acrylic
in the last decade although by that time, he had
established a reputation in watercolours.

He did not have his rst solo until 2002, although he
has been actively taking part in various exhibitions
since the Young Artists Exhibition at the National Art
Gallery in 1963.

He was a member of the Malaysian Watercolour
Society, taking part in its annual exhibitions from
1983 to 1987, and also its Overseas Exhibition in
Melbourne in 1984. He was also the treasurer.

Then he co-founded the Contemporary Malaysian
Watercolourists Association as a rival group, and was
its president from 1998 to 2001, and since then its
Adviser.

He is also a member of the Penang Art Society and
the Perak Art Society (life member).

From 1987-1992, he also took part in the Asian
Watercolour Confederation exhibitions in Kuala
Lumpur, Bangkok, Taipei and Seoul.

In 1998, he won the Education Minister Award from
the Japan Modern Arts Association Exhibition in
Osaka, Japan.

Ka Seng likes to move in between various styles,
media and subjects as betting his mood and to
challenge himself to open new fronts from which to
project his ideas and test out techniques.

To him, the only constant is change, but it is to
show the variety and diversity of life and also as an
exploratory imperative.
LIM KA SENG : MELANCHOLY MUSINGS l Ooi Kok Chuen
The noise of Moment Scoffs at the Music of the Eternal
The Dream Within a Dream
The Span of Life
Lim Ka Seng standing next to his painting,
The Noise of Moment Scoffs at the Music of
the Eternal
NO
ONE would have batted an
eyelid if it were in the majors, but
the trickle of Andy Warhol, Roy Lichtenstein,
Joan Miro and Zao Wouki was a big thumbs
up to the still edgling Art Expo Malaysia
(AEM), only in its fourth year.
Indeed, a set of Andy Warhol got sold
to a Malaysian collector, who preferred
anonymity, for RM2 million, while a small
work by German Expressionist Ewald Platte
(1894-1945), a lesser known contemporary
of Emil Nolde and Karl-Schmidt Rotluff, was
snapped up for a cool RM120,000.
On the last day of the AEM at the
Matrade Exhibition and Convention Centre
in Kuala Lumpur, bargain hunters kept up a
frenzied last-minute shopping spree, pushing
the overall sales from the ve-day event
(excluding the gala VIP Night graced by the
Raja Muda and Raja Puan Muda of Perlis,
the patron) to RM11 million nearly twice
the amount from the previous two years
sales.
While there was encouraging sales of
Malaysian works, the ravenous appetite of
Malaysian collectors for foreign artists works
India, Myanmar, the Philippines, Indonesia,
South Korea and China was an eye-
opener, if a little perplexing.
The Warhols were sold by Singapores
Collectors Contemporary, which also
boasted of Lichtenstein (1923-1997) and
young hotshots Chris Levine and Russell
Young. Dont the collector wished he
had also picked up the Lichtenstein,
for only scarcely two weeks later, at the
Christies New York auction, Lichtensteins
1964 painting, Ohhh Alright, set a sales
record for the artist at a US$42.6 million
(RM133.4 million) premium!
The inux of the best of Singapore
galleries with their cosmopolitan outreach
was noteworthy.
If nothing else, the art buying at the
AEM proves there are big spenders in art
among Malaysians. Some have been
known to have stashed their largesse of
Impressionist and modern masters in their
London homes.
The art sale was not the only thing
that raised eyebrows at the AEM. The
visitorship also surged and doubled to
12,000, and this in a country never known
to be big gallery goers.
The interest spike could have been
triggered by the hyped-up 1MCAT
(1Malaysia Contemporary Art Tourism)
Festival and the RM1.737million turnover at
the 1st Henry Butcher Art Auction Malaysia
on Aug 8.
That the Art To Rent gallery of Spain
managed to sell several limited edition
maquette sculptures of Jesus Curia besides
the Miro prints vindicated their gamble in
sticking to the AEM since its inception.
Chinas contemporary art superstars such
as Yue Min-jun and Zhang Xiao-gang, with their
stratospheric prices, have yet to hit the AEM
but Taiwans William Contemporary Art Space
was also testing the waters by bringing in their
prints (editions of 130).
South Korea, through the International
Artists Cooperative Organisation vehicle, never
failed to impress with works such as those by
IACO president Alvin Lee Bung Lyol, Shin Dal
Ho, Kang Sung Uck, Kim In Sook, Kim Jong
Wong and Suh Yoon Jae.
While the art from Thailand and Vietnam
were conspicuously absent, the debut of
Pakistan with their strong gurative art was a
revelation. Works by Saeed Akhtar , Ahmad
Khan (calligraphy), R.M. Naeem and Ali Azmat
certainly impressed.
Also making their debut was the Art For All
Macaunese co-operative, while Japan, which
had the Grandmother of Pop, Yayoi Kusama,
last year, had a bigger representation with the
Asian Artists Network group.
For the second year, the National Art
Gallery came in as co-organisers and chose
a selection of its sculpture collection in its
Transmetalsi showcase, with works from
aboriginal woodcarvings such as those of the
Hampatung guardians and Borneon masks to
contemporary works by Tengku Sabri Tengku
Ibrahim (wood-carved totems), Raja Shahriman
Aziddin (spiky Gerak Tempur) and Mad Anuar
Ismail (keris-hilt standee).
The main entertainment attraction was the
3D animation work, RESTART, the latest by Miao
Xiao Chun, whose Microcosm proved to be a
bit hit last year. This time, the maestro himself
was present, and gave a talk offering insights
into his work.
Also garnering great attention was Chinas
newly emerging Chinese brush icon Wang Xi-
Jing (heading the Shaanxi Artists Association)
and Taiwans 85-year-old national art treasure
Li Chi Mao. Both gave painting demonstrations
which astonished the spectators of their innate
skills.
Wang Xi-jing was also represented in
Hong Kongs reputable Chit Fung, which
also boasted of works by Wang Ming Ming,
Pan Gongkai and Li Xiaoke (son of Li Keran).
Other attractions were the Cuiheng
Culture and Art Village (China) and Peter
Liews Archi-Heritage.
The AEM also provided booths for
embassies of Argentina, Cuba and Ecuador
to showcase their Latin avoured art, for the
enjoyment of acionados locally and also to
forge links with the far-away lands.
The AEM, to further promote art in the
country, was still free, and also provided free
shuttle bus services to convenient locations
in the city centre.
For the rst time, the AEM was fortunate
to have found a major sponsor, Secret
Recipe, the Made-In-Malaysia restaurant
franchise that has spread to Australia,
Brunei, China, Indonesia, Pakistan, the
Philippines, Singapore, and Thailand. The
AEM also received very strong support from
the Tourism Ministry, which heavily promoted
it overseas.
The AEM seemed to have leaned
more towards contemporary art if the 4th
edition was anything to go by. But where
participation is based on the lottery of
willing-paying clients, after vetting of their
credentials of course, much will depend on
the players of the day.
The AEM attracted 49 galleries/art spaces
from Spain, China, Indonesia, Germany,
Hungary, India, Myanmar, Taiwan, the
Philippines, South Korea, Ecuador, Cuba,
India, Japan, Argentina, Pakistan, Macau,
Hong Kong and Malaysia.
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A latter-day batch of Andy Warhol Campbell Soup silkscreens put up by
Singapores Collectors Contemporary
Transmetalsi
Li Chi Mao giving a painting demonstration
The AEM attracted artists not only from all over the country, but Eng Tay (right)
ew out from his New York home base specially for the even.
At the AEM opening (from left): AEM organising chairman Vincent Sim, Deputy Tourism Minister Datuk Dr James
Dawos Mamit (representing the Tourism Minister Datuk Seri Dr Ng Yen Yen), and National Art Gallery Director-General
Ambassador Dato Mohd Yusof Ahmad
AEM 2010 REVIEW l Ooi Kok Chuen
12
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PERSIDANGAN SENI HAO :
CABARAN DAN PASARAN SENI
KONTEMPORARI ASIA TENGGARA l Faizal Sidik
Adakah penggiat seni di Asia Tenggara sudah
bersedia menghadapi permintaan peminat
seni antarabangsa yang tinggi terhadap seni
kontemporari di sini? Adakah juga sistem seni yang
diamalkan di rantau ini juga telah benar-benar boleh
dibanggakan bagi menampung permintaan pasaran
seni semasa dengan boom nya seni kontemporari
Asia terutamanya di India dan China?
Persidangan Seni HAO 2010 atau The 2nd HAO
Summit di Singapura adalah platform bertindak
balas dimana ia merupakan program pembangunan
profesional untuk penggiat seni serantau terutamanya
pelukis muda, kurator dan pengurus seni. Dari 11
hingga 15 November 2010, persidangan kedua ini
telah dimajukan oleh dua buah organisasi seni yang
berpengaruh di Singapura iaitu The Substation
dan Villains iaitu sebuah kolektif seni pelbagai
media. Mengambil daripada perkataan hao yang
bermaksud baik dalam bahasa China dan how
iaitu bagaimana dalam bahasa Inggeris. HAO
dibaca sebagai sebuah pertemuan bagaimana
untuk mencari jalan ke arah kebaikan yang wujud
atas kesedaran kurangnya tindakbalas yang lebih
profesional dan peluang jaringan dikalangan generasi
muda Asia yang mempraktikkan seni kontemporari.
Persidangan HAO pada edisi kedua ini mula
membuka ruangnya kepada12 penyertaan luar
bukan sahaja dari Singapura malah kepada pekerja
seni di Asia Tenggara yang telah berkecimpung
secara aktif sekurang-kurangnya 6 tahun dalam
industri kreativiti ini dan berminat bagi mengembang
dan membangun mengikut keperluan komuniti
mereka.
HAO merupakan persidangan pembangunan strategi
jangka panjang, bermentorkan kepada pemangkin-
pemangkin industri seni dan perkongsian maklumat
dan budaya sesama Asia Tenggara. Persidangan HAO
direncana untuk merapatkan lagi jurang wilayah
pasaran baru seni kini yang mana daerah tenggara
ini sedang meletup. HAO diharap dapat membantu
mereka mengembangkan, merubah dan bersaing
dalam pasaran seni global.
Program ini berorentasikan aktiviti, interaktif di antara
pelatih dengan fasilitator yang berada di dalam
kumpulan di mana mereka dikenali HAO Fellow
untuk berkongsi dan bekerjasama dalam aktiviti
kumpulan sepanjang program ini berlangsung.
Peserta dalam persidangan ini dicabar untuk berkir
di luar kotak lingkaran. Apa yang menariknya dalam
program ini adalah mereka akan berinteraksi dengan
pakar-pakar yang dijemput oleh penganjur dalam
pelbagai sektor, termasuk pembuat polisi, pakar-pakar
pemasaran dan pengurusan kreatif bagi menjelaskan
keadaan sebenar seni di sini di samping berkongsi
pengalaman mereka yang telah lama bermain
dalam arena serantau.
Menceritakan sedikit tentang sejarah HAO ianya
diilhamkan oleh The Substation Associate Artist
atau Persatuan Artis Substation yang diketuai oleh
Khairuddin Hori, dimana edisi pertama Persidangan
HOA telah diadakan pada tahun 2008 di Pulau
Sentosa, Singapura oleh The Substation yang
dianjurkan bersama oleh Khairuddin sendiri bersama
Audrey Wong iaitu bekas pengarah bersama artistik
The Substation dan juga pernah dicalonkan sebagai
Ahli Parlimen.
Pada edisi kedua ini The Substation, yang diwakili
oleh mereka berdua menjemput Villains Creative
Agency sebagai kurator. Villains merupakan kolektif
kreatif yang ditubuhkan pada 2009 oleh mereka
yang berpengalaman dalam seni halus, rekaan
grak, perleman dan pengurusan produksi dalam
mencorakkan program dan memilih penceramah dan
fasilitator pada persidangan kali ini.
Penceramah dan fasilitaor pada kali ini terdiri
daripada profesional yang telah terbukti dalam
bidang masing-masing antaranya ialah Margeret
Chan (penggiat, Penolong Profesor Singapore
Management University), Rich Streitmatter (artis
seni persembahan dan penyelidik), Steve Lawler
(pengarah kreatif Kult Magazine), Howard Chan
(pemogram budaya), Mikal Telle (ketua eksekutif Telle
Records, pentadbir dan pengurus artis), Zaki Razak
(artis dan penulis), Audrey Wong (ketua program
sarjana kesenian dan pengurusan budaya, pentadbir
dan pengasas HAO), Marco Kusumawijaya (urbanis
dan arkitek), Khairuddin Hori (pengasas HAO, artis dan
kurator Singapore Art Museum)
Antara fakta-fakta menarik yang boleh dikongsi
dalam persidangan ini adalah daripada pembicara
kedua iaitu Rich Streitmatter iaitu artis seni
persembahan dan juga penyelidik dari Ho Chi Minh
City, Vietnam menyampaikan topik berikutnya iaitu
Visual Syllables: The Diacratic Exercise atau Syllables
Visual: Latihan Diakratik. Kelainan dalam sesi kali ini
adalah beliau tidak berada dalam masa dan tempat
yang sama dengan peserta. Peserta hanya melihat
rakaman secara video dengan Rich yang disediakan
oleh penganjur. Dalam penyampaian beliau banyak
membuat perbandingan antara citarasa atau taste
dan buangan atau waste.
Menurutnya konsep minima iaitu menolak produksi
besar-besaran dalam seni boleh mengurangkan
pencemaran. Menurutnya lagi pencemaran dan
konsumerisme adalah merupakan dalam ekologi
perniagaan, beliau menyarankan seni konsumer iaitu
seni interaktif dua hala di antara audien dengan objek
seni bagi mengurangkan pencemaran.
Beliau juga menyentuh dengan rekaan yang menarik
dan trend semasa konsumer, apa yang dikatakan
sebagai projek organik oleh kapitalis. Menyentuh
dengan konsumerisme moden pada hari ini Rich
mengatakan produk perkhidmatan oleh penyedia
pencarian web internet Google iaitu Google Map
merupakan produk pengguna percuma atau free
consumer yang mana ia boleh dikongsi seluruh umat
global yang mesra pengguna lagi memudahkan.
Tambah beliau lagi Kitar Semula merupakan satu
projek yang telah direncanakan sejak awal lagi
kerana ia akan membawa pulangan wang lumayan
bagi sesetengah pihak dan akan memerangkap
tingkah laku kita. Beliau juga mengaitkan dengan
media sosial pada hari ini iaitu Facebook sebagai
platform alternatif dalam membuat duit yang
menidakkan pihak tengah, walaupun penolakkan
orang tengah ini bukan isu baru dengan kehadiran
blog-blog perniagaan secara talian, hubungan jiwa
yang dibina oleh laman web sosial itu tadi lebih kuat
tarikannya.
Villains, kolektif kreatif yang terdiri daripada Razi
Razak, John Ling, Farizwan Fajari dan Djohan Johari
mengambil alih dengan menyampaikan tajuk
Reections of a Creative Quartet. Mereka yang
bekerja sebagai sebuah kumpulan artis merentangi
disiplin kreatif seperti seni halus, rekaan, perleman
termasuklah multimedia mempunyai visi dalam
mencari dan mendekatkan audien dan pelanggan
mereka dengan idea-idea yang inovatif dan menarik
untuk dikongsi. Dalam projek dan program yang
dilakukan oleh Villains mereka ingin mewakili tangan-
tangan gelombang yang mempengaruhi generasi
muda dengan visi yang unik dan idea-idea yang
kritikal dalam penghasilan artistik.
Pelukis biasanya lebih senang bekerja secara individu
dalam berkarya namun Villains banyak berkongsi
pengalaman bagaimana mereka dapat bekerja
secara kolektif walaupun masing-masing mempunyai
kepakaran bidang yang beza dalam membina
program atau menyertai pelbagai pameran sebagai
kurator dan artis yang boleh bekerjasama dalam
satu bumbung. Mereka cuba memecahkan dinding
sempadan konvensional yang diciptakan oleh
pengkarya individu kepada entiti berpasukan yang
mempunyai misi yang sama menjana pengalaman,
wacana, informasi dan inspirasi antara sesama
mereka.
Pengarah kreatif majalah seni reka grak iaitu
Kult yang juga seorang pelukis, Steve Lawler
menyampaikan cabaran-cabaran yang boleh
dihadapi dalam penerbitan majalah grak dan
illustrasi dengan tajuk Kult of Printed Word. Steve
lebih selesa menggelarkan diri sebagai kurator
majalah dan buku yang mempunyai latar belakang
pendidikan Seni Reka Grak dari Brighton University
dan pernah melibatkan diri di beberapa syarikat
penerbitan majalah dan periklanan seperti Color
Magazine dan bekerja secara eksklusif dengan
produk jenama Diesel bersama tenaga kreatif
di Selatan Itali. Dari situ beliau beralih ke Asia dan
banyak melakukan kerja-kerja pembinaan laman
web dan kempen periklanan untuk jenama global di
bawah bumbung OgilvyOne Singapore.
Beliau kini merupakan pengarah kreatif Kult3D yang
terlibat dengan projek di Asia samaada idea yang
bersifat komersial dan eksperimen. Beliau juga sering
dijemput untuk membuat rekaan majalah, selain
mengadakan wokshop dan banyak bereksperimentasi
dengan media baru. Menurut beliau mengkuratorkan
majalah atau buku tidak banyak perbezaan dengan
idea daripada kerja-kerja mengkuratorkan pameran.
Ia menuntut seorang kurator untuk melakukan
penyelidikan dan lawatan ke galeri-galeri swasta
mahupun ke kolej atau universiti untuk mencari
bahan untuk dimuatkan ke dalam majalah. Majalah
Kult menghimpunkan pelbagai rekaan ilustrasi dari
pelbagai negara dengan membawa konsep see a
magazine like youve never ever seen before atau
melihat majalah yang anda tidak pernah sesekali
melihatnya sebelum ini.
Pokok kepada pengkuratoran majalah beliau ini ialah
usaha seboleh mungkin untuk membawa kandungan
isi majalah atau rekaan secara interaktif atau dekat
dengan pembaca. Beliau cuba untuk menukar
konsep pengguna estetik pergi ke galeri untuk melihat
pameran dengan meletakkan objek estetik secara
interaktif kepada pengguna ditempat yang menjadi
pilihan mereka.
Howard Chan pula merupakan aktivis program
budaya di Hong Kong. Program budaya yang
direncanakan beliau menjambatani ilmu dalam
bidang yang berbeza dan berpusatkan kepada
masyarakat. Pada tahun 2002 beliau mengasaskan
bersama dan pengerusi kepada Community
Museum Project (CMP), sebuah kolektif kuratorial dan
penyelidikan yang cuba menolak konsep vernakular
muzium atau muzium tanpa dinding Museum without
Roy Lichtenstein
EXPLOSION I
Porclain enamel atas besi
98 x 67 inci 248.9 x 170.2 cm
1965
HAO Summit 2010 di The Substation
Zaki Razak, Like A Bridge Over Troubled Ideals - A Symposium
SOH BOON KIONG:
PELUKIS RESIDEN BARU
DI UNIVERSITI MALAYA
l Lim Ai Woei
a wall yang cuba menyelesaikan masalah budaya
setempat dalam kehidupan harian masyarakat.
Program seterusnya adalah merupakan simposium di
pengerusikan oleh Zaki Razak bertajuk Like a Bridge
Over Troubled Ideas-A Symposium atau Simposium-
Idea Yang Bermasalah Seperti di Jambatan
menariknya persidangan meja bulat ini diadakan
betul-betul di atas jambatan aras 4 LaSalle College
of Art. Jemputan panel terdiri dari pelbagai bidang
terutamanya daripada tenaga pengjar LaSalle dan
Fellow HAO iaitu peserta sendiri. Dalam simposium
panel meja bulat yang terdiri daripada pengiat seni
muda, pensyarah seni dan pengiat teater banyak
membicarakan isu-isu semasa seni kontemporari di
rantau ini terutamanya di Singapura.
Zaki Razak selaku peneraju simposium memulakan
dengan meminta pendapat panel bagaimana
apa yang dikatakan Renaissance dalam seni
kontemporai Singapura dengan adanya acara-
acara besar seperti Singapore Biennale dan ekspo
seni seperti Art Singapore ia membuka mata peminat
seni untuk datang dengan jumlah pengunjung yang
tidak pernah dikirkan sebelum ini, malah ia bukan
sahaja memberi kesannya terhadap Singapura
sahaja malah negara-negara Asia Tenggara yang
berhampiran turut merasai angin perubahan pasaran
seni ini. Sungguhpun begitu terdapat isu-isu lama
yang masih belum selesai dari sudut ketidakbebasan
ekspresi artistik daripada kerajaan mereka sendiri
dimana menyekat penghasilan karya yang
mengkritik pemerintah yang dibangkitkan oleh panel
terutamanya penggiat muda. Selain itu isu yang
menjadi popular dimana-mana perjumpaan seni
iaitu dari aspek dana, geran dan bantuan kewangan
dalam penghasilan artistik.
Audrey Wong yang merupakan ketua program
sarjana pengurusan seni dan budaya, pentadbir
dan pengasas bersama HAO menghujah tajuk The
Myth of The Struggling Artist atau Mitos Pergelutan
Pelukis dimana beliau menyentuh persoalan
kepada peserta: adakah pada masa kini pelukis
untuk pelukis? atau pelukis membantu pelukis yang
lain? (Pada masa dahulu kegiatan artistik adalah
atas dasar keseronokan, berbeza penggiat hari ini
yang mempertaruhkan wang ringgit untuk mereka
terus hidup bagi membayar sewa dan bil bulanan).
Lantas beliau menuntut supaya sikap mereka lebih
profesional berbanding lima puluh tahun sebelum.
Soh Boon Kiong, pelukis yang dilahirkan pada tahun
1966 di Malaysia dan kini menetap di Amagasaki,
Jepun sejak tahun 1998, telah terpilih sebagai pelukis
residen yang baru di Universiti Malaya.
Soh Boon Kiong, anak kelahiran Kuantan, Pahang,
melanjutkan pelajarannya di Sorbonne dan Ecole
Nationale Superieure des Beaux Arts de Paris dari 1988
to 1993, dan menetap di Jepun selepas berkahwin
dengan isterinya. Beliau yang fasih dalam 5 bahasa
pernah mengadakan pameran solo di Singapura,
New Zealand, Jepun dan Malaysia. Komuniti
penghimpun karyanya berasal dari Paris, Tokyo,
London, sehingga New Zealand, Estonia, Jordan,
Singapore dan juga dari Malaysia sendiri. Pameran
solo Soh Boon Kiong ke-17 yang bertajuk The Lyrical
Flow berlangsung di Muzium Seni Asia, Universiti
Malaya dan telah dirasmikan oleh Duli Yang Maha
Mulia (DYMM) Sultanah Pahang, selaku Penaung Seri
Kencana Kalsom Foundation dan turut dihadiri Duta
Besar Perancis, Tuan Yang Terutama.
Ini adalah kali kedua Soh Boon Kiong mengadakan
pameran solonya di Universiti Malaya mengikuti tema
Ukuran/skala besar (large formats). Pameran
pertama diadakan pada tahun 2008. Karya Soh Boon
Kiong dipengaruhi oleh pelukis impresionis Perancis
seperti gerakan Lyrical Ekspresionisme yang bermula
pada tahun 50an di Paris. Ia juga menarik inspirasi dari
lukisan lama landskap San-Sui China. Ia merupakan
hasil campuran unik lukisan serta kaligra Cina
dari ekspresi artistik pelukis dengan menggunakan
cat akrilik atas kanvas dalam mengingatkan gaya
pengaruh lukisan impresionis Perancis bergabung
estetika landskap lukisan China.
Muzium Seni Asia menyedari pentingnya memelihara
seni tempatan dan selaras dengan langkah Universiti
Malaya dalam usaha mempromosikan seniman
tempatan. University Malaya sebagai pelopor dalam
bidang seni telah mengambil usaha ketara melalui
kewujudan Muzium Seni Asia yang mencerminkan
usaha merintis universiti dalam mempromosikan seni.
Tempoh residensi selama satu tahun sejak Disember
2010, pelukis telah menghasilkan karya seni dan akan
ditempatkan di universiti, langsung menjadi koleksi
kekal untuk pengunjung awam. Masyarakat awam
boleh membuat kajian akademik dan penulisan kajian
tentang lukisan serta pelukis berdasarkan koleksi ini.
Dalam ucapan Datuk Dr. Gauth Jasmon, Rektor
Universiti Malaya, memberi jaminan bahawa universiti
akan memberi sokongan untuk bakat tempatan
yang telah menjejakkan kaki mereka di arena
antarabangsa: Di Universiti Malaya, Kuala Lumpur,
kami bangga dan menyokong serta memelihara
seni, terutama dalam mempromosikan karya seni
tempatan di kampus dengan ini saya menyokong
perkembangan seni tempatan.
Universiti Malaya mencari pelukis residen yang
berpadanan dengan reputasi antarabangsa, dan
kami berbesar hati telah menemui Soh Boon Kiong,
katanya, sambil menambah bahawa Soh Boon Kiong
telah dipilih sebagai Pelukis Residen UM yang terkini.
UM telah melantik Pelukis Residen yang termashyur
seperti Allahyarham Datuk Ibrahim Hussein pada
70an seterusnya Datuk Syed Ahmad Jamal (Seniman
Negara) pada tahun 80an dan mendapat sambutan
di Malaysia dan antarabangsa.

Pentingnya, pelukis Residen yang dilantik telah diakui
oleh Universiti Malaya seperti koleksi seni karya pelukis
tempatan termasuk karya Datuk Chuah Thean
Teng, Datuk Syed Ahmad Jamal, Allahyarham Dato
Hoessein Enas dan Allahyarham Ibrahim Hussein.
Terdapat juga karya pelukis pelopor seperti Chen
Hwen Hsi, Lai Fong Mooi dan lain-lain sebagai warisan
khazanah negara yang tidak ternilai harganya.
Pemilihan Ibrahim Hussein sebagai pelukis residen
bertahun-tahun lalu menghasilkan koleksi karya seni
di atas kanvas mahupun yang di dinding bangunan
yang dikenali sebagai mural kreatif. Universiti Malaya
sekarang dalam proses penentuan dan mengenal
pasti karya seni dan mural sebagai sebahagian dari
warisan koleksi karya seni, seperti mana kenyataan
Datuk Dr. Gauth Jasmon. Selain dari pelukis tempatan,
pelukis antarabangsa termasuk beberapa pelukis
terkenal seperti MF Hussein dari India juga dalam
perjalanan ke koleksi muzium.
Demikian juga, Soh Boon Kiong mendapat
kehormatan untuk dipilih sebagai pelukis residen
universiti. Ini adalah kehormatan dan saya sangat
bangga akan dijemput untuk menjadi Pelukis Residen
di Universiti Malaya. Dalam jangka masa pelantikan
ini, saya akan menumpukan kepada membantu
Universiti Malaya melalui kegiatan-kegiatan artistik
dan pertukaran budaya di peringkat antarabangsa
yang bertujuan memanfaatkan pengetahuan artistik
yang akan terbukti sangat berharga bagi mahasiswa
di Universiti, katanya bahawa di akhir residensi,
beberapa lukisannya akan disimpan di dalam koleksi
kekal universiti dan juga melalui persediaan Soh
Boon Kiong Galeri, semua kajian karya seni tentang
karyanya akan rujuk kepada koleksi galeri ini .
Namun di sini terdapat konik minat samaada
mencari jalan selamat untuk bekerja agar setiap
bulan mendapat habuan yang tetap atau terus
berada dalam arus perdana kesenian dan terus
mendapat perhatian. Bantuan dana dan geran
daripada keprihatinan kerajaan sedikit sebanyak
memberi sinar baru kepada pelukis pada hari ini yang
bergelut dengan masalah kewangan bagi berkarya.
Pelukis hari ini perlu yakin walaupun audien dalam
bidang mereka tidak besar mereka juga boleh hidup
seperti manusia yang lain, terima kasih pada dunia
komersial dalam penghasilan seni pada hari ini kerana
selagi ada peminat dan permintaan (kolektor) yang
menanggapnya sebagai objek komoditi selain estetik
selagi itulah penawaran (produk seni) dari pelukis
itu akan dihasilkan dan menjamin survival seorang
pelukis.
Marco Kusumawijaya dari Indonesia, seorang urbanis
dan arkitek merupakan juga pengasas Rujak Center
for Urban Studies atau Rujak yang memfokuskan
pengkajian dan praktis terhadap idea pembandaran
yang mampan. Rujak yang bermaksud Ruang
Jakarta bermatlamat untuk membina Jakarta
sebagai bandaraya yang mampan untuk diduduki.
Rujak juga mempunyai blog di mana ia memberi
ruang warganya menyalurkan idea, tindakan, soal
jawab, tahu bagaimana, cabaran dan cadangan-
cadangan yang boleh dikongsi bagaimana
mentransformasikan bandaraya ini dengan
sebaiknya. Dalam tajuk The Pragmatic Art beliau
banyak menyentuh bagaimana membebaskan
ruang public dengan membawa seni kepada ruang
tersebut dengan penglibatan audien itu sebagai
objek tumpuan. Katanya, bandar-bandar besar
yang menjadi tumpuan penduduk dahagakan
ruang-ruang spontan yang boleh membina kreativiti
komunitinya. Ruang-ruang urban ini perlu kepada
kesenian yang berbentuk protes, provokasi, berkir
dan menyoal kembali. Menurutnya tugas pelukis untuk
membebaskan ruang ini bukan sahaja untuk ekspresi
semata-mata malah menawarkan ruang bermeditasi
seperti yang dilakukan di kebanyakan negara-negara
Eropah. Perancangan tidak seharusnya merosakkan
ekologi dan apa yang merisaukan beliau adalah jika
masyarakat tidak dapat merahsiakannya lagi.
Program disambung dengan tajuk History of
Contemporary Art In Singapore Version 6 oleh
Khairuddin Hori iaitu kurator di Singapore Art Museum
yang juga merupakan seorang pelukis. Peserta
didedahkan dengan retrospektif perkembangan seni
kontemporari Singapura dengan pemain-pemain
utamanya dari tahun tujuh puluhan sehingga ke hari
ini, kontroversi yang melingkarinya, bermula displin
yang pelbagai atau dalam seni, interaksi serantau
seperti ekspo seni dan biennial, kelahiran pelukis
sebagai kurator yang mengisi kelompongan apresiasi,
penerbitan seni, sokongan kerajaan dari segi dana
dan geran, pendidikan seni, galeri komersial dan
perubahan pucuk pimpinan dalam institusi seni
dan pembuat polisi. Khairuddin juga menerangkan
perancangan sehingga jangka panjang institusi
seninya itu dengan sebuah bangunan baru National
Art Gallery Singapore akan siap pada tahun 2012
dan ia akan menyimpan koleksi seni lukis moden
secara berasingan. Mereka juga merancang untuk
menjadikan Singapore Art Museum (SAM) sebagai
pusat rujukan utama di rantau ini yang akan memberi
fokus kepada seni lukis kontemporari Asia Tenggara.
Satu sayap baru dengan pengambilan sebuah
bangunan lama bersebelahan dengan SAM iaitu
8Q dijadikan ruang pameran seni kontemporari
antarabangsa yang datang dari luar negara yang
dirangka untuk merancakkan lagi program di samping
menarik kedatangan pengunjung luar ke Singapura.
Kedatangan rumah lelongan seni antarabangsa
seperti Christies dan Sothebys di Malaysia dan
Singapura sedikit masa dahulu yang kini merajuk ke
Hong Kong kerana pasaran yang lebih besar oleh
kebangkitan ekonomi Asia Timur, kini perlu memikirkan
kembali untuk hadir bermain semula di rantau ini.
Rumah lelongan domestik seperti Masterpieces,
Larasati dan Borobodur di Indonesia dan baru-baru
ini Henry Butcher di Malaysia yang mencatatkan
jualan RM 1.7 juta hasil daripada lelongan
sulungnya menunjukkan potensi pasaran yang kian
memberangsangkan di rantau Asia Tenggara.
Jaringan:
The Substation http://www.substation.org
The Substation Associate Artist - http://www.substation.org/
associate_artists
Villains Creative Agency http://www.v-lla-ns.com
Diacratic.org http://www.diacritic.org
Kult Magazine http://kult.com.sg
Community Museum Project (CMP) http://www.hkcmp.org
Rujak Center for Urban Studies http://rujak.org
13
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DYMM Sultanah Pahang melawat Pameran Solo Soh Boon Kiong
(kiri ke kanan) Pelukis residen UM Soh Boon Kiong, DYMM Sultanah
Pahang dan Datuk Dr. Ghauth Jasmon melawat pameran
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PETALING
JAYA: A vintage 1969 acrylic
painting by Datuk Ibrahim
Hussein called The Dream is believed to have set a
Malaysian auction record when it sold for RM500,500
at the rst Henry Butcher Art Auction at Wisma Bentley
Music here on Aug 8.
The auction of Malaysian Modern and Contemporary
Art Collection, ofcially opened by Minister of Tourism
Malaysia, Yang Berhormat Dato Sri Dr. Ng Yen Yen,
and touted to be the rst of its kind in Malaysian art
history, recorded a total of RM1,737,910 in sales, with
52 out of 62 works sold, registering a success rate of
84%. Thirty-two of the works on offer were sold above
the estimates.
Another two Datos, pioneer artists Hoessein Enas and
Chuah Thean Teng, snared the next top places with
Hoesseins 1954 Javanese Girl realising RM127,600
while Chuah, the world acknowledged batik-painting
founder, took the 3rd spot with his Mother and Children
raking in RM114,400 after some intense bidding.
The auction, arguably one that is the largest and
most professionally-run, was dedicated exclusively to
Malaysian art and attracted a standing room crowd of
more than 300 people, with bidders coming from as far
as Penang, Sabah and Singapore.
The highlight of the auction was none other than The
Dream, which Ibrahim (1936-2009), or Ib as he was
better known, had sold to a United Nations ofcer
based in Kuala Lumpur in the early 1970s. The collector
had since taken the work with him in his postings all
over the world. After some intensive competition from
determined bidders, this rare work has nally found its
new home back in its home country after nearly 40
years of traveling around the world.
Dato Mohd Hoessein Enas (1924-95) proved to be
another star at the auction. His 1993 pastel on paper
work, Peasant Girl, which was the rst lot to go under
the hammer, drew interests from no less than eight
bidders in the room and two telephone bidders, who
competed ercely as soon as the auction went live
at 3.30pm sharp. It was nally sold for RM44,000, well
over its original estimate, and drew a round
of applause from the crowd. Another one of
Enas work, an oil on canvas titled Javanese
Girl, which was rst sold at Christies Singapore in
1996, also attracted some very intense bidding
before nally clinching RM127,600.
Of the two top-draw works by Chuah (1912-
2008), better known as Teng, the classic Mother
with Children nally went to a London-based
buyer at RM114,000 after attracting some 24
bids from several serious collectors who were
eyeing the work, while a rare mixed media work
from Teng, Two Cockerels and a Hen sold for
RM90,000 post-auction.
Landscape and heritage artist Peter Liews
1997 oil on canvas, Golden Malacca, fetched
RM72,600 while Lim Kim Hais Gentle Breeze
went for RM120,000 in another post-auction sale.
Chia Yu Chian was also popular among the
bidders, with his lively depiction of KL Street
Scene (Lebuh Pudu) in 1985 hitting RM37,400
while his early work, Paris Street Scene done in
1960 sold for RM24,200.
Of the other pioneer artists, Yong Mun Sen (1896-
1962) did well with his 1948 watercolour fetching
RM24,200 and two 1953 works garnering
RM27,500 and RM34,100 respectively. The 1953
works were part of the 148 works listed in the
collection of his widow Yao Chew Mooi, which
were appraised by the London-based rm Spink
and Son.
However, the highest priced watercolour
was not Mun Sens but the RM42,900 paid
for Chang Fee Mings Drying, a seminal work
to the artists career as it brought him his rst
Malaysian Watercolour Society Awards in 1984.
Another one of Fee Mings early works, his 1987
Kathmandu Market Scene also did reasonably
well at RM14,850.
Penangs watercolour legend Tan Choon
Ghee also made a strong presence, with
all his watercolour works on offer selling
beyond their original estimates, the highest
being the RM14,850 paid for his KL Railway
Station work, while Lim Kim Hai who is
famous for his apple paintings, saw his rare
1985 watercolour of a French countryside
fetching RM14,300.
Also hitting ve-digit for a watercolour was
Khalil Ibrahim for his 1990 Beach Vista, which
garnered RM11,000, and a 1993 classic work
from his Fishermen series fetching RM12,100.
Some of the countrys most revered veteran
artists were also well represented with Dato
Sharifah Fatimah Zubirs commissioned
piece, Awakening fetching RM48,400 and a
1982 Lilac Landscape from Jolly Koh going
for RM24,200, while Awang Damits Alun
Alun keMarista 6-97 was sold for RM9,900.
Among the younger artists represented,
Jalaini Abu Hassan, more affectionately
known as Jai, proved himself to be
one of the nations most sought after
contemporary artists when his early work
from 1999, Lukisan Kertas Chap Reben was
sold to a telephone bidder for RM26,400
against its original estimate of RM10,000-
12,000. Other contemporary artists with
works selling at the upper end of their
original estimates were Zulkii Yusoff, Yee
I-Lann, Kow Leong Kiang, Pheh It Hao and
Marvin Chan.
Smaller works priced below RM5,000 had
its fair share of the market too, with names
like Mansor Ghazalli, AB Ibrahim, Peter Harris
and Lui Cheng Thak leading the way.
MALAYSIAS FIRST ART AUCTION
RECORDED SALES IN EXCESS OF RM1.7M l Jessica Ho
Ibrahim Husseins The Dream which was sold for RM500,500.
Telepnone and absentee bidders joined in the action.
Peasent Girl and Javanese Girl by Dato Mohd Hoessein Enas were sold for RM44,000 and RM127,600 respectively
Dato Syed Ahmad Jamal & Wife, Director-General NAG Ambassador Dato Mohd Yusof Ahmad, Mr Lim Eng
Chong, Pn Zanita & Mr Vincent Sim
15
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All in all, this was a historical occasion and
landmark event lled with excitement from
the moment Henry Butcher opened its
registration counters to potential bidders
at 2.00pm. The entire 4th oor of Wisma
Bentley Music was literally lled to the brim
and buzzing with an air of anticipation as
the crowd, which included some of the most
prominent corporate gures, collectors,
gallery owners, artists and critics, stayed
all the way until 6.00pm when the auction
ofcially ended.
Encouraged by the overwhelming response
from the market, Henry Butcher Art
Auctioneers is planning to stage two sales
for next year, with the rst slated for May/
June 2011. The company is also planning
to seek the cooperation of the Minister of
Tourism in the promotion of Malaysian arts
by way of auction in Hong Kong, China and
Singapore. Invitation to consign works for the
upcoming sale will commence from next
month. Interested parties can contact the
auction house at 012-260 7303 or 03-2694
2212 or email info@hbart.com.my. Auction
results are available on www.hbart.com.my.
THE HENRY BUTCHER
ART AUCTION l Interview by Anis Amizan
Malaysias rst art auction records sales in
excess of Rm1.7 million. The Henry Butcher
Art Auction held recently was a historical
occasion and landmark event in the local
art scene. The entire 4th oor of Wisma
Bentley Music was literally lled to the brim
and buzzing with an air of anticipation as
the crowd, who included some of the most
prominent corporate gures, collectors,
gallery owners, artists and critics, stayed
all the way until 6pm when the auction
ofcially ended.
For this issue, SENIKINI has made an interview
about the auction with Lee Khai and Jalaini
Abu Hassan.
What is your opinion about the rst auction
that was organized by Henry Butcher?
1) Lee Khai
It is a good start as the Henry Butcher
Art Auction is a launch of a truly local
secondary market for ne art. To establish a
healthy secondary market in Malaysia, we
need more ne art auction houses.
2) Jalaini Abu Hassan
Most encourage. This is a sign that Art
Industry starting to grow and it does attract
investor.
How you choose your favourite artwork?
Based on market impunities or depending
on the uniqueness of the painting itself?
1) Lee Khai
Both my personal liking of the art piece
and the investment value is important to
me. I do not suggest anyone buy art purely
for its investment value, thought it can be
a very good investment. One must rst be
attracted to the art one acquires.

What painting do you want to see in the
next art auction?
1) Lee Khai
Hopefully in the future there can be
enough interest and that it will eventually
be viable to have specialized auctions for
different types of nd art e.g. Pioneer Artists,
Modern & Contemporary Art, Chinese Art,
and Sculpture.
2) Jalaini Abu Hassan
Contemporary Art Work and also historical
artwork.
What is your opinion about Market Value
Artwork in the art industrial either in
Malaysia or International?
1) Lee Khai
Without a vibrant auction market in
Malaysia, market value is an arbitrary term
at best. Is the market value of a Malaysia
artists works based on what art dealers or
galleries claim them to be? Or what the
artist himself claims them to be? A sprinkling
or our artists have their works auctioned at
Sothebys and Christies in Singapore and
Hong Kong, but as those places are not the
primary market for their works, the auction
prices do not actually reect their value.
Thus, the need for a vibrant secondary
market in Malaysia.
2) Jalaini Abu Hassan
The market value of local artist artwork is
lower compare with our neighbour country
example Indonesia and Filipina. In the other
hand, this is a good time to buy Malaysian
artwork before the market is going up.
YB Dato Sri Dr. Ng Yen Yen with the Henry Butcher Team.
Signing ceremony
Award winning Drying by Chang Fee Ming sold at RM42,900. Mother with Children by Dato Chuah Thean Teng went for RM114,400.
16
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The
Translation of 2010 The 1st Next
Super Star (Features Report of
Chinese Contemporary Art News)
Dear Mr. C.N. Liew,
In your boldly style, you have transformed
the explicit impression into a splendid
shape. It is indeed a miraculous piece
of work. You are like what Master Tien
Tai has stated, the heart is like a skilled
painter. My heart is deeply touched.
Dr. Daisaku Ikeda
(Recipient of United Nations Peace
Award & Poet Laureate)
Men have always strived to elevate
themselves spiritually through an afnity
to arts. Such is the lifequest of the artist
in his pursuit to achieve oneness with his
mind and the pulse of life aesthetics.
CN Liew draws inspiration from life itself.
Through his hand grasping the varied
styles of calligraphy, he meditates
deeply in its history and reects upon the
current state of calligraphy with which
the Zen style provided a beacon of light
in the elevation of a new art form. The
present is a cornerstone of Zen style
and progressive; it is as if the state, this
one Wu Jing (Awareness) requires the
perfect harmony of brush and ink, CN
begin etching his mind for this new form
which is relevant yet timeless.
Classical Chinese Calligraphy has been
stagnant since the 21st century. Even with
the infusion of new ideas from other elds,
this traditional art form has yet to evolve.
There is a signicant bridge in the state of
mind of contemporary calligrapher and
their historical peers. CN feels that human
mind is progressive and his art should be
at the forefront of change and adapting
organically to changes. His art are not
archaistic alternative creation.
Western art has experienced changes
which has allowed it to blossom into
a eld of proactive organic forms
appreciated by the world. However, the
tenacious vitality of calligraphy seems
hesitant, even today as ancient. CN
contemplates: How can we create a
kind of brush and ink art form which can
be appreciated by people who does
not understand Chinese characters yet
still touch their mind? In this respect,
CN feels Zao WouKi, Chu TehChun, Wu
GuanZhong, Xu Bing and P.Soulage,
F. Klein, Jackson Pollock ... are all very
good example of artists who have fused
elements from both East and West that
cuts across cultures.
In fact, the Wu GuanZhong before his
passing repeatedly merged calligraphy
into his art through the infusion of colours
to breathe new life to this traditional
black and white form. Similarly, CN has
begun experimenting with colours and
various medium to create a variety of
abstract composition. It can be said that
they hold the same strategic view of the
direction of this art.
Determined to evolve this art, CN through
active experimentation and persistence,
he developed the rst gesture of his art in
the form of QQas (Strokescape),
to the _W (Surrealligraphy), and
the recent QQW (Pop Calligraphy).
CN said: I developed the ink gesture
like, in the light of my own aesthetic
imagery of contemplation and see, is an
instinctive need, and yet so unconscious
of the nature _; thus no borders to my
creation
CN strokes are swift and powerful, in the
free state of the unconscious conscious
complete masterpiece, the creative
process seems like a performance art
scenes, climatic and stunning.
In his own words, I enjoy the unconscious
freedom while working with my art,
morphing and taking shape into a life
borne of my mind.
From an aesthetic point of view, surreal
calligraphy and Pop Calligraphy
represents the pinnacle of his current
creation; it can be regarded as a
new genre, a contemporary art also
homologous to the demands of the
ancients. The colours draws inspiration
from his life journey and harmony is key in
blending the elements of Peking Opera,
the Dunhuang murals, Tibetan Thangka,
Henri Matisse, Antioni Gaudi...
Surrealligraphy is the enlightenment of
CNs surreal experience in meditation
in the world beyond comprehension
from the back to nature, then Pop
calligraphy is the celebration of life in its
her full blossom with unprecedented vigor
and dynamism.
CNs art is the very stucco of life; of
energy. I think the interpretation of noble
sentiments of the ink line (strokes of brush)
art, as if that is the boundless blue sky on
the clouds, is that the vast grasslands of
the high winds, it is that clash of primal
sparks.
His art are endowed with energy unseen
anywhere, seemingly limitless and eternal
universe every changing.
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THE TRANSLATION
OF 2010 THE 1ST NEXT SUPER STAR
l CN Liew
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CN LIEW and his Masterpiece MERDEKA, MERDEKA, MERDEKA!
Expression, |_ (Pop Calligraphy) Acrylic on Metal 103cm 77 cm
Rousing Awakening ]_ Colour and Ink on Rice Paper 98cm45cm (2006)
Form of Bliss Coplus Gold (Surrealligraphy Sculpture)
Fiber glass, gold, gilt, pigment, 1/1 (Single Edition) Sculpture: 630mm(I) 380mm(W) 610mm(H)
Base: 465mm(I) 465(W) 60mm(H) Sculpture & Base: 670mm(H) (2008)
_ g
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Sempena menyambut Ulang tahun ke 33,
Pertubuhan Kebudayaan Cina Malaysia
menganjurkan Anugerah Kebudayaan
(MCCS) ke 6 pada malam 31 Oktober
2010 di Wisma MCA, Jalan Ampang.
Menteri Kesihatan Datuk Seri Liow Tiong
Lai dijemput sebagai tetamu untuk
membuka majlis ini serta menyampaikan
Anugerah penghargaan kepada 6
pemenang Anugerah Kebudayaan.
MCCS telah menganugerahi 6
Anugerah penghargaan kepada para
pemenang sebagai penghargaan atas
prestasi mereka yang telah banyak
mengorbankan diri kepada kebudayaan
Cina di tanahair ini. Antara 6 pemenang
anugerah tersebut adalah: kategori
muzik: Dr. Toh Chee Cheong, kategori
penyiaran: Puan Wong Kim Pok, kategori
pendidikan: En. Tong Lee Poh, kategori
Seni: Encik Cheah Yew Saik, kategori
sastera: Encik Woon Swee Tin dan
kategori tarian: Encik Koh Eng Kiam.
Anugerah MCCS tersebut direka oleh
pengarca yang terkenal di China,
Professor Dr. Wu Weishan yang berumur
48 tahun. Beliau adalah Pengerusi
Akademi Arca China, Pengarah Institut
Seni Rupa, dari China National Academy
of Arts, dan juga Pengarah Academy
Committee of Nanjing University.Beliau
juga Pengarah kepada Jawatankuasa
Pengarah (operasi) Seni Arca dalam Kota
China dan Ahli Jawatankuasa Nasional
Persidangan Konsultatif Politik Rakyat
China. Inspirasi beliau berdasarkan motif
budaya tradisional China dikomposisikan
menjadi seorang dewi seperti statue/arca
yang melambagkan kebijaksanaan dan
amal. Tangan kiri arca ini mengangkat,
melambangkan harapan dan masa
depan. Pada masa yang sama
menghargai mereka yang bertungkus-
Eksplorasi jelaga sebagai media
menggantikan arang telah
sinonim dengan Bakir Baharom
atau lebih dikenali sebagai
Kat. Pelukis muda kelahiran
Kedah, bekas graduan seni
daripada UiTM, Shah Alam ini
cuba mencari bahan pengganti
kepada media konvensional
sebagai permulaan.
Bakir, bermula dengan gurisan
plat, mula menghasilkan karya
cetakan gurisan sejak di UiTM,
pernah memenangi beberapa
pertandingan seni visual,
antaranya Penang Art Festival
2003, 2004 dan Grand Prize
Winner Nokia Upstart 2005.
Pada 2005, Bakir mula menyampaikan kaedah cetakan
dalam bentuk stencil asap, eksperimen yang di
lakukan menggunakan asap rokok sebagai lambang
pemberontakan dalam diri untuk menamatkan dunia
perokoknya. Imej jantung dan stencil asap di kolaj di
atas kanvas menjadi sesuatu karya yang jelas kuat
memotivasikan dirinya.
Pada 2006, Bakir menghasilkan
instalasi Kepompongnya yang
memancar keterangan malam.
Bergayutan di dahandahan
pokok di taman kecil tepi Gudang
(nama sebuah studio artis milik
pelukis Hamir Soib, di Damansara)
ketika dijemput menjadi artis
residensi di situ. Bakir, kini
meneruskan kerja-kerja berkaitan
dengan kesenian, menghasilkan
kerja backdrop berkumpulan,
mural, menjadi pembantu
teknikal kepada beberapa artis
terkenal, pensyarah separuh masa
di Aswara selain menjadi artis
sepenuh masa.
Dengan sedikit kegilaan
dan keghairahan dalam
mengeksplorasi jelaga yang
diperolehi daripada pelbagai
jenis lilin atau pelita minyak
tanah dan menghasilkan arang
sendiri daripada pembakaran
tayar getah kereta. Kini, Bakir
telah menjaya menggawal
sifat rawak jelaga yang sukar
untuk dikendalikan. Secara
teknikalnya, Bakir telah mencuba
pelbagai permukaan untuk melihat
keberkesanan jelaga sebagai media.
Pada 2009, Bakir menjadi artis
residensi IMCAS (Iskandar Malaysia
Contemporary Art Show) dan
memenangi MEA Awards (Malaysian
Emerging Artist). Kepenggunaan
jelaga ini masih diteruskan. Kali
ini Bakir, lebih memfokuskan imej
sebagai bentukan daripada olahan
jelaganya. Bakir cuba mempotretkan
dirinya di dalam kerawakan teknik
jelaga seolah-olah segompolan
awan hitam yang berwajah manusia
sedang bergerak lembut untuk keluar
daripada permukaan kanvas putih.
Pada 2010, Bakir tampil dengan solo
Monolog di Galeri Chandan, Bukit
Damansara yang telah berlangsung
dari 22 Nov 6 Disember 2010.
Monolog merupakan kebimbangan
Bakir tentang kehidupannya yang
sering mempersoalkan tentang
kekalutan, kebenaran dan kepastian.
lumus secara senyap dan memberi
sumbangan terhadap penyebaran
budaya cina di Malaysia selama ini.
Permukaan arca yang berwarna emas
merupakan aliran budaya cina terus
mengalir ke masa hadapan.
Dalam kategori Seni,
En. Cheah Yew Saik
mengabdikan hidupnya
untuk pendidikan Seni
Rupa. Sebagai seorang
seniman, beliau bukan
sahaja sebagai seorang
pendidik seni, beliau
juga terlibat dalam Seni
Catan, Seramik, Arca,
Mural dan Seni cetak.
En. Cheah Yew Saik
dilahir pada tahun
1939 di Kedah. Beliau
belajar di Sekolah
Menengah Han Jiang
dan amat bertuah
bakatnya dicungkil oleh
cikgunya, iaitu Dato
Chuah Thean Teng.
Selepas tamat sekolah menengah, beliau
meneruskan pelajaran seni formalnya
di Nanyang Academy of Fine Art pada
tahun 1961 dan melanjutkan pelajaran
ke Stoke-on-Trent College of Art di British
pada tahun 1965. Dengan keputusan
yang cemerlang, Cheah Yew Saik
mendapat ijazah dalam tempoh satu/
dua tahun. Pada tahun 1966, Cheah Yew
Saik kembali ke Malaysia dan mendirikan
sekolah seni pertama di Malaysia, yang
kemudiannya dipindahkan dari Pulau
Pinang ke Kuala Lumpur. Semenjak Kuala
Lumpur College of Art (KLCA) ditubuhkan
pada tahun 1968, Encik Cheah Yew
Saik adalah sebagai pengetua sekolah
sehingga bersara pada tahun 2002. Pada
Tahun 1983, Kuala Lumpur Academy of
Fine Arts dipilih oleh kodikasi Jerman
dan dianugerahi dalam Senarai Dunia
College Seni, sebagai perakuan
sumbangan atas pendidikan seni beliau
dalam industri kreatif.
Selain daripada itu, beliau juga
menubuhkan Persatuan Seni Lukis Cat
Air Malaysia (Malaysian Watercolour
Society) dan Alumni Institut Seni Nanyang
(Nanyang Academy of Fine Arts Alumi
Association) dalam tahun 80an dan
menjadi Pengerusi kepada kedua-
dua persatuan ini. Cheah Yew Saik
dianugerahkan anugerah alumni pada
tahun 1991.
Selama satu dekad, Cheah Yew
Saik menjawat sebagai Penasihat
Akademik dan Jawatankuasa Editorial
ke Sekolah Persendirian Cina di mana
ia mempromosikan pengajaran Seni
Rupa dan siri teks mengajar. Beliau telah
dicalonkan di Ekspo Seni Antarabangsa
2009 (Art Expo Malaysia) untuk
penghargaan khas.
Encik Cheah Yew Saik telah
dianugerahkan Sijil (Certicate of
Inclusion), International Biograohical
Centre, Cambridge United Kingdom
pada tahun 1981 sebagai pengakuan
atas sumbangan dan prestasinya sebagai
pengiat seni. Dia juga dianugerahkan
oleh Whos Who Malaysia, Chinese
celebrity blog record, Whos Who of
Chinese Painting and Calligraphy.
Pencapai ini memenuhi hasrantya yang
ingin mempromosikan pendidikan seni di
tanah air.
Manakala Fresco Harmonika Ensemble
telah membuat persembahan yang amat
menarik kepada para hadirin. Selain
daripada itu, Fresco Harmonika Ensemble
juga telah mendapatkan sijil daripada
MCCS kerana telah memenangi Juara
Double Harmonika Dunia di Jerman pada
tahun lepas.
MAJLIS PERTUBUHAN KEBUDAYAAN CINA MALAYSIA
(MCCS) MENYAMBUT ULANGTAHUN KE-33 SERTA
PENYAMPAIAN ANUGERAH KEBUDAYAAN KE-6
l Lim Ai Woei
MONOLOG BAKIR BAHAROM
l Ben Jaafar
Siri Kepompong
Media campuran 40cm x 40cm x192cm 2007
The Clouds I, II, III, IV
Jelaga atas bod 29 x 60 cm 2010
Berupa Rupa
Jelaga dan akrilik atas kanvas 53 x 153 cm 2010
Lebai Maghrib
Jelaga atas kanvas 153 x 153 cm 2010
Cheah Yew Saik menerima anugerah daripada (kiri ke-2 ke kanan)
Menteri Kesihatan Dato Sri Liow Tiong Lai, Presiden Cabungan
Pertubuhan Cina Malaysia Tan Sri Pheng Yin Huah dan Madam Tai
Hsiao Hua Presiden Pertubuhan Kebudayaan Cina Malaysia.
Cheah Yew Saik Karangan III 1969 Cat Minyak 76 x 117 cm
BSLN1971.030
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Sebukit Bintang :
Stars On The Hill
l Tan Hui Koon
Sebukit Bintang: (Stars On The Hill) Is dedicated to my
former students who had endowed me a spectacular
perspective that I essentially lacked in reality. Sebukit
Bintang: (Stars on the hill) is to discover and encourage
the young artists and designers to become an agent of
change. SENIKINI welcomes every teachers, lecturers,
parents and students to send in articles to pool the
Stars and rock the hill.
Having spent two years and a half teaching and
preaching art, I have to admit its quite a challenging
process especially the commitment to the students.
First of all I have to be versatile so that I wont be
judgmental to all sorts of characters so is to inculcate
creativitiy and innovation, and adhere to the
objective of art that fosters innite possibilities.
James Elkinss Why Art Cannot Be Taught, states:
Contemporary teachers adhere to this in that they
do not try to foist a uniform standard on each student
they advised. Instead they try to feel their way to
an understanding of what each student is all about.
Teachers acknowledge that everyone has different
ideals, directions, talents, and potentials. That sense of
individuality is quintessentially Romantic.

This statement has made me realize the potential
of students I was amazed at the irony of the late
exposure of art education among the youngster
who desperately try to encapsulate and empower
themselves by the mighty word of art in a very short
time. This is the purpose of Sebukit Bintang: (Stars On
The Hill) to discover the fascinating stories that hidden
in every corner of the urban landscape, far away from
home town that inspired and aspired each one of us
at the bottom from our he(art).
Sebukit Bintang/Stars On The Hill: NZ Phang Yow Kit and
Diana Phang Lai Peng
by Tan Hui Koon
This article is especially for NZ Phang (Yow Kit) and
Diana Phang Lai Peng with their beloved families who
have generously shared with us about a mysterious
and great mural painter who painted alongside a
chosen group of painters to complete the longest
prison outer wall mural in the world.
NZ Phang (Yow Kit), my former student came to me
at one day and surprised me with the story of his
uncle, the painter of the famous Pudu Jail mural. I was
astonished because of I had long admired the hand
painted longest mural in the world and really believed
in art as therapy as well as is art for spiritual healing.
In front of me, NZ who looks more convincing in his
social and practical personality rather than he is
coming from an artisan family. Unfortunately NZ only
know a little about his uncles legacy and luckily
his family kindly faxed me the only reference-the
newspaper article.
No one would believe that Pang Sun Qiang is one of
the painter of the Pudu Jails wall, mural painting at
Country Heights Kajang and several urban residences.
Although these commissions paid him well, he still
suffers from poverty. And this is so, he admits ,because
of his drug addiction.
You will not nd Phang Sun Qiangs name in the artists
directories. He wasnt trained, never enters into any
competition nor related with any art association; but
his paintings are collected and hung in the VIPs room
as decoration.
Phang (Phang Sun Qiang) is talented in realist painting.
With his miraculous skillful technique, he could turn
the zinc wall to become an amazing artwork and no
wonder some important gures are his collectors.
At rst sight, I could not believe he was the guy who
squats by the stinky drain meticulously transforming
the twenty feet long zinc wall into a landscape
painting. When I walked closer to him, I was stunned
when I saw the tools that he used was not any familiar
painting materials but just his ngers and a lousy house
painting brush that you would think twice before
reaching for it.
Its like that lah! As long as you have interest, nothing
is impossible. He said in his husky voice along with his
peculiar expression, but nevertheless he is a friendly
person to talk to. He told me almost everything
including sweet andbad memories. He charged
minimum two hundred ringgit for a painting, but for
the mural in the Country Heights Kajang he earned
ten thousand ringgit. A man called Dato Mark paid
him seven thousand ringgit just to paint a mural in his
house. At the same time he also earned fty thousand
on all his commission artworks from the rich merchants,
high rank ofcers and millionaires.
After a few hours into the conversation with him, he
shared with me more about his personal matters. Its
useless to earn much; I had wasted all the money on
drugs. I couldnt go back home to meet my wife and
children, its shameful and I feel guilty too. I blame the
drugs!
Apparently as much as he despises the drugs , he
craves the drugs the most.
Phang spent his youth in jail. He was being ruthless
and involved in all sorts of crimes from stealing to bank
robbery. Today, he is 51 , surviving on his own paintings.
His mood swings drastically, he can nish a painting
without a break when his mood is in tune; or vice
versa. No one can persuade him to pick up the brush.
Phangs four season paintings are neither from his
distinctive imagination nor his impression from other
imageries that he saw from other places; indeed he
never experiences any season physically besides
the tropical weather in our country. I dont know
what genius is, but I think interest is the main key. I still
remembered my interest was nurtured after watching
my dad demonstrated to me how to draw a hen when
I was a boy.
When Phang nished his standard ve in Chinese
school, his father wanted to transfer him to study in
an English school. At that time he was over aged to
register to the English school but he still succeeded to
enroll into form one by registering through his younger
brothers birth certicate ,under the name Sah Tee.
Phang was afraid that he had disappointed his fathers
high expectation, and found a job instead of nishing
high school due to lack of interest in study. Teacher
teaches me to read, but I teach teacher to hunt wild
boars. (Pun phrase from: _{__{__
y)
After quitting school, he became a member of a triad
because he thought this was the easiest way to make
big money. When he realized the trut ,he became
disappointed and he drowned himself in drugs. Since
that he never found his turning point to come back to
normal life. Its too late, theres no return.
He only started to paint when he was imprisoned
and managed to hone his skill. He produced a few
hundred paintings so the warder may sell them. The
warder paid him sixty ringgit per painting only. He
knew his artworks were worth more than that amount
because of there was once an Australian merchant
who acted as an art dealer who came to Malaysia to
buy his artworks and sold his artworks in Australia.
This Australia benefactor even went through a middle
man to approach him again and wished to offer him
to travel to the world, in return Phang must paint each
countrys sceneries for him.
Unfortunately I miss this glorious opportunity because
off I was sent to Pulau Jerejak, Pulau Pinang just after
being bailed from jail. His voice resonant
|[ggQ_j,_j_
_,____|j],
Second uncle whom I never touch but only through
the verbal narrative from my dad: Among the brothers
and sisters, he is the brightest. He not only inherit tidy
Five Fingers Painted The Famous
Walls by Li You (_)
New Life Post g_
24.2.1993 Wednesday
Note: In this translated article, the painter is named Pang Sun Qiang
(directly translated from mandarin name) and named Pha Tee in the
Star, titled article: Deriving Sense of Freedom from Art dated 21 April 1994,
interviewed by Helen Ang, Photographer: Jamah Nasri
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and beautiful handwriting but also talented in drawing
and painting.
;j_g]Q_g|j
j]jy?_?_,,,For me, he
is just a smart guy who had mistaken the wrong path in
his life. As part of this family member, I felt sorry to him
and wondering why he used drug. Isnt for life or.?
j_gQj_j___j
_g__Q,;|
_jj_Zjg_|,_]Qj
Zjj_j_j___g_g
_jj__|[;,Through my dads words
of mouth, just I knew about my second uncle is the
chic and tongue Pudu Jail mural painter. I have no
offensive to him as a prisoner yet Im taking the pride
of the mural. To me, every people have a chance to
choose either to be or not to be a drug user, it shows
the human truly instinctive nature. But not to this mural,
it is not just a matter of desire but must compliment
with a strong willpower and great talent; plus he
painted with only his ngers and rags.

_Qj_jj|g___j[_
|j__j__j]
]?jg_J_]Qj_,My dad used to
live together with my second uncle and witnessed him
painted on the wall in his room with his own ngers. At
that time my dad still navely to ask him: What are you
doing? and the result was the wall ended up with full
of my second uncles nger print.

__|__gj|_Q_g
__g__[_g],__j___[_
jj_jj_Z]_]_jg__
_[|_jQjjg,The rst time
and also is the last time I met him, he doesnt looks
good. He has to lose one leg and has a swollen face
due to heath problem. I think I probably only four to
ve year old and I still remembered my mom brought
him food. It is a strange feeling, although he wore like
a beggar but intuitively told me that he is my relative.

|_]QjyQjQ_g]Qj
g|Qj_|gjg_]QjZ
_g[?_Qj,Every time I passed
by the mural, I will announce to my accompanies the
facts of my uncle is the painter and the unique way
how he painted the wall. The feed back always is:
arent the wall is painted by the prisoners? and every
time I will afrm to them: Yes! He was.

)j]Qj_)___j,
]QjZ_,Before the demolition, the mural is a
history; so do as after the demolition but also become
a legend, because of the wall wasnt there anymore.
|gy][_jg_j;[
|]__j),]8g_y__
j__){g____[}_
_Grafti,Time passes and it become really painful
because of there is no cares and restoration vice versa
it was being abused all along the time. Since 1998
Commonwealth Game, City Hall had painted the
divider of the wall into white; numerous of white frames
along the wall had ruined the originality and spoiled
the visual aesthetic, even the anonymous did the
grafti on it in recently.
Note (sources from Facebook):
This draft table provided thousand of possibilities to NZs college mates
who are struggling to buy IKEAs study table. NZs dad modied a draft-
ing table to make sure he always in the right body position while he is
doing all his best assignment. All we need is just an old whiteboard x1,
stool x 1, and old desk x1 along with lots of cute magnet bars to hold the
drawing paper.
K: You mentioned that you are saddened by what
the Pudu Jail have become now, do you think of tak-
ing any action or solution to prevent and save it from
the demolition?
NZ: As I said if we decided to keep it, restoration is
the priority because this is a heritage. But how, I really
dont know and I have no idea who should take care
of it. I denitely wont stand out to do demonstration
although it is painful for us (me and my family mem-
bers) to bear the demolition on Pudu Jail because we
get to know and remember my second uncle through
this wall. I do aware that nights before demolition
(Pudu Jail) crowds of people who hold a sentimental
value to it have gathered; this old land mark really
meant something to all of us and told us different
stories.
Note: photographed and note by NZ: Pudu Jail the wall,i found my
memory on it
K: Perhaps we should have less shopping malls; revisit
the value of a place beyond the leisure and enter-
tainment thrusts in urban planning and development.
Dont you think it is just as simple as to tell your story
through a design? Or documenting the wall in nice
photography?
NZ: When I was child, my dad never said a word
about preserving or documenting the wall, sometimes
he drove us pass the mural quietly and started to tell
us the story about my uncle. I think this is the way my
family kept these memories and feeling in deep. This is
new to me; I will keep your advice and think about it.
Photographer, Tan Chee Hon had started his docu-
mentary project of Pudu Jail wall painting before it
was demolished by developed from UDA early this
year. The series was taken from year 2000 to 2010. We
appreciate his sharing from his portfolio entitled In
Memories Of Pudu Jail Painting .
Title: #10,2010
K: Thanks for that thought, I am symphatetic to your
plight. From my point of view instead of waiting or
pointing ngers to others, I think you can start some
initiative and play a certain role in this loss. To a certain
degree you can channel the pain and regret, all
these experiences and apply it in your career as a
designer?
NZ: Something that I never thought about it. Can you
be more specic?
K: Lets say heritage; in everyday we cannot avoid
losing what we inherited from tangible to intangible
heritage. For an example tangible as a building and
intangible as our lifestyle or the air we inhale now. The
wall is a heritage for you from your uncle; there must
be a certain value on the wall that normal people like
me never can imagine.
As a designer and you being through the pain of loss,
would you be more sensitive to the surrounding that
maybe signicant to others, so that you will make a
plan of design that will avoid and reduce the pain of
loss, even a design that may be carrying the value
from the past to the future?
NZ: I would like to move on my life and prefer to
choose to not looking back too much. Probably I
can keep this in my mind and let it evolve inside me
because its true that theres certain value that we
should carry on.
After all, Im very thankful to NZs effort to approach
Diana Phang Lai Peng, daughter of Pha Tee. Diana
Phang who prefers to maintain a low prole generously
posted on facebook the response to this informal
interview.
Photo by NZ
y]_j___,If we decided to keep it,
restoration is the priority because of this is a heritage.
AN INTERVIEW: K, NZ Phang: NZ
(NZ currently is the president of student body
organization)
K: Im wondering and just assuming that your uncle
must have inspired you a lot, did he inuence your
study?
NZ: No, nothing related to my uncle at all. Eventually
I wanted to be a F1 racer but I didnt get my familys
support. My dad did some product re-invention, they
look cool and practical so thats why Im in industrial
design.

PROGRAM MERAKYATKAN
SENI (PMS), REMBAU
Pada 5 hingga 7 November 2010, telah diadakan
program Merakyatkan Seni di Rembau, Negeri
Sembilan. Di antara aktiviti yang dijalankan di sana ialah
Pameran Koleksi Airbrush BSLN, Demonstrasi Lukisan
Berus Angin, life scathes dan Lukisan Karikutur. Program
ini diadakan adalah untuk memberi kesedaran kepada
masyarakat mengenai seni dan juga membuka ruang
dan peluang kepada pelukis menjana pendapatan
masing-masing. Di antara artis yang terlibat ialah Abdul
Aziz Bin Lebai Alias (Karikutur), Zakir Zamir dan Fadli (Life
scathes) dan Mohd Norikhwan Bin Omar (Berus Angin).
PROGRAM PELANCARAN PAMERAN DAN
PERTANDINGAN MEWARNA & MELUKIS ANJURAN
KEMENTERIAN KESIHATAN MALAYSIA
16 Oktober 2010
Foyer Tingkat 1, Galeri Kafe & Galeri 2C
Seni lukis merupakan medium terbaik bagi menyebarkan sesuatu mesej serta memberi inspirasi
kepada masyarakat. Untuk mengubah persepsi masyarakat, ianya perlu bermula daripada
generasi muda. Bersempena Majlis Sambutan Minggu Kesedaran Pendermaan Organ dan
Tisu 2010, Pusat Sumber Transplan Nasional buat julung kalinya usaha sama dengan BSLN
untuk mengadakan pelancaran pameran dan pertandingan mewarna & melukis tentang
pendermaan organ dan transplan oleh pelajar-pelajar sekolah rendah, menengah dan
institut pengajian tinggi yang dihasilkan melalui satu pertandingan yang telah dianjurkan oleh
Persatuan Teo-Chew Selangor-KL di seluruh negara dan Universiti Sains Malaysia.
PELUKIS DI LOBI
Program Pelukis Di Lobi telah dilancarkan oleh BSLN pada tahun 2009, bertujuan untuk menyediakan sebuah ruang
khas (lobi) bagi aktiviti berkarya kepada pelukis-pelukis. Ia juga bertujuan bagi menggalakkan pengunjung galeri
mendekati, mengenali pelukis dan menghayati seni secara langsung. Pelukis di lobi telah dipilih berdasarkan kepada
pengalaman panjang mereka berkecimpung dalam bidang seni, penguasaan teknik yang tinggi dan sifat ingin tahu
atau suka berkongsi pengetahuan seni dengan khalayak. Karya-karya yang dihasil dan dipamerkan adalah juga untuk
jualan. Berminat untuk menjadi pelukis program Pelukis di Lobi? Sila emel faizun@artgallery.gov.my untuk maklumat
lanjut.
PERASMIAN
ESPECTACULAR
DE LUCHA LIBRE
Pada 30 November 2010, telah berlangsung satu
perasmian Espectacular De Lucha Libre bertempat
di Ruang Legar Tingkat 1 BSLN. Majlis ini dirasmikan
oleh Jorge Alberto Lozoya, Duta Besar Mexico ke
Malaysia dengan ditemani oleh DatoMohd Yusof
Ahmad, Ketua Pengarah, Balai Seni Lukis Negara.
Pameran ini dapat melihatkan trajektori Mexico
yang menggabungkan paling banyak variasi dalam
tradisi hikayat cerita rakyat Mexico, termasuk baru-
baru ini yang muncul sebagai Gusti Gaya Bebas
Orang Mexico atau Lucha Libre, yang telah
menggabungkan hasil karya Lordes Grobet, artis
berbakat di mana seni fotogra mempunyai ruang
istimewanya yang tersendiri.
LUKISAN MURAL
DINDING BALAI SENI
LUKIS NEGARA
BSLN telah menjemput pelukis grati bagi
menjayakan lukisan mural dinding BSLN.
Pelukis yang terlibat secara langsung
adalah Bibi chun and The Group.
Lukisan dinding tersebut masih dalam
proses dan hampir 50% telah disiapkan.
Motif yang diketengahkan adalah
merangkumi ora dan fauna.
HERITAGE SERIES,
P.RAMLEE ON COIN
Pada 11 November 2010 bertempat
di Ruang Legar Tingkat 1, BSLN pihak
Persatuan Karyawan Malaysia telah
mengadakan satu pelancaran bersempena
dengan Heritage Series, P.Ramlee on
Coin. Persatuan Karyawan Malaysia
dengan kerjasama KLMINT telah mengambil
insiatif untuk mengabdikan Tan Sri P.Ramlee
di atas satu syiling peringatan sebagai
simbol penghargaan kepada beliau. Tiga
jenis syiling peringatan diperkenalkan iaitu
dalam bentuk Pakej Pek Emas, Perak dan
Tembaga dengan harga jualan RM3500.00
yang turut disertai dengan sijil pembelian
dan nombor siri di dalam pakej yang sangat
menarik, manakala untuk pembelian secara
berasingan pula ialah dengan harga
RM250.00 bagi Perak dan RM50.00 bagi
jenis Tembaga. Untuk sebarang pertanyaan
lanjut untuk tempahan boleh menghubungi
secara terus talian 03-41313481(FATIN/AIDA)
ataupun 016-9079616(EN. SAIFUL).
PROGRAM LAMAN BUDAYA
RAKYAT, DATARAN
MERDEKA KL
Sabtu 9 Oktober 2010, bermula pada pukul 5.00
petang sehingga 10.30 malam bertempat di
Hadapan Restoran Warisan, Dataran Merdeka
Kuala Lumpur, telah berlangsung satu Program
Laman Budaya Rakyat. Program ini adalah
bertujuan untuk mempromosikan BSLN sebagai
sebuah institusi seni, memberikan pendedahan
dan menarik minat pengunjung mencintai seni
serta memberi ruang kepada penggiat seni
berkarya, memperkenalkan kesenian sebagai
satu gaya hidup serta Merakyatkan Seni agar
masyarakat tempatan terutama sekali para
pelajar mahupun pelancong luar berpeluang
untuk mendekati kesenian Malaysia dan menjana
pendapatan artis.
BATIK TANG
Tan Kok Hwa better known as Batik
Tang and this is the 7th exhibition
entitled Batik Tangs Batik Exhibition at
Gallery Cafe, NAG (23 November-23
Dicember).The exhibition launching
on 17 December 2010 (4.00 pm)
by Ambassador Dato Mohd Yusof
Ahmad Director-General, NAG. The
exhibition showcases the various
stages of his artistic development
throughout his four decades of
involvement with batik painting.
LUMINOSITY-THE LIGHT
WITHIN..
Is the latest solo exhibition by Pakistan
born painter Seema Nadeem. Known
for her starkly horizontal structures that
are her trademarks in her works, her
latest series showcase reections of
her wonderful stay in Malaysia, which
she revealed to have had a profound
spiritual effect on her being. The
exhibition was a private event held
at attended by close friends and also
dignitaries.
PAMERAN MEMBINA SEBUAH
NEGARA BANGSA SEMPENA
PERSIDANGAN UMNO 19
23 OKTOBER DI PUSAT
DAGANGAN DUNIA PUTRA
Sempena dengan Persidangan UMNO pada tahun
ini, Balai Seni Lukis Negara telah dijemput untuk
mengadakan pameran bertema Membina Sebuah
Negara Bangsa bagi turut sama menyampaikan mesej
Gagasan 1Malaysia melalui seni visual dan seterusnya
memeriahkan lagi sambutan sempena Persidangan
UMNO yang berlangsung di Pusat Dagangan dunia
Putra. Pameran Berus Angin Topi Keledar 1Malaysia dan
catan yang menggambarkan kepelbagaian budaya
penduduk di Malaysia telah dipamerkan di sepanjang
tempoh persidangan berlangsung bagi menyemai
dan menyemarakkan rasa kecintaan dan semangat
1Malaysia melalui seni visual.
CHENG HAW CHIEN
Pada 30 September 2010 yang lepas telah
berlangsung Perasmian Pameran Solo Dr Cheng
Haw Chien yang ke 136 di BSLN. Pameran ini
bermula dari 20 Ogos 2010 sehingga 31 Oktober
2010.
Perasmian ini telah dirasmikan oleh YB Senator
Heng Seai Kei, Timbalan Menteri Pembangunan
Wanita, Keluarga dan Masyarakat. Pameran ini
bertujuan untuk menghidupkan kembali dakwat
Cina yang bersubjekkan landskap, ora, fauna,
kaligra dan puisi.
Karya-karya beliau telah menjadi koleksi di serata
pelusuk Asia, Amerika, Australasia dan Eropah.
Orang ramai dijemput hadir untuk menyaksikan
pameran ini. Untuk maklumat lanjut sila hubungi
pegawai perhubungan awam BSLN di talian 03-
40254990 atau layari www.artgallery.gov.my.

BSLN SANA SINI
PENYAMPAIAN HADIAH BAKAT
SENI KARTUN MERDEKA 2010
Pada 25 November 2010 yang lalu telah diadakan satu
penyampaian hadiah kepada para pemenang bagi
pertandingan Bakat Seni Kartun Merdeka 2010 yang telah
diadakan di Tingkat 1 BSLN. Kementerian Penerangan,
Komunikasi dan Kebudayaan(KPKK) menerusi BSLN dan Arkib
Negara Malaysia sebagai pelaksana telah menganjurkan
pertandingan ini iaitu sebuah program yang memperlihatkan
hasilan seni lukis kartun pelbagai variasi dan dialog yang
kreatif di dalam menyampaikan mesej yang bernas dan kritis.
PERTANDINGAN PAMERAN
SEMPENA SAMBUTAN HARI
INOVASI PERINGKAT KPKK, 2010
Pada 30 November dan 1 Disember 2010, telah
berlangsungnya Sambutan Hari Inovasi Peringkat Kementerian
Penerangan, Komunikasi dan Kebudayaan (KPKK) di
Perkarangan Auditorium, Kompleks Kraf, Jalan Conlay, Kuala
Lumpur. Antara aktiviti yang diadakan sempena sambutan
tersebut ialah Konvensyen Kumpulan Inovasi dan Kreatif
(KIK), Pertandingan Pameran Terbaik, Ceramah Perdana Hari
Inovasi, Pelancaran Logo Baru KPKK, Penyampaian Anugerah
Inovasi 2010, Persembahan Pemenang Inovasi Terbaik dan
Persembahan Pemenang KIK. BSLN merupakan salah sebuah
agensi di antara 19 agensi/jabatan di bawah KPKK yang
menyertai Pertandingan Pameran Terbaik. Upacara Perasmian,
Pelancaran dan Penyampaian Anugerah telah disempurnakan
oleh YB Datuk Sri Utama Dr Rais Yatim, Menteri KPKK.
RETREAT BSLN
Retreat Halatuju BSLN
12 hingga 15 Disember 2010
PNB Ilham Resort, Port Dickson
Bertujuan memakmurkan industri kreatif dan budaya visual
negara melalui persembahan dan komunikasi visual terbaik
dalam pameran dan aktiviti sokongan yang berdaya saing.
JANUARI
AIAE: 20 Nov 2009 31 Jan 2010
Konservasi Masjid Tok Machap
Pameran En Bloc: 12 Dis 22 Feb 2010
FEBRUARI
Art on Necktie: 2 Feb - 19 Feb 2010
Pameran Seni Bangladesh: 19 Feb 28 Feb 2010
Pameran 1 Malaysia bersama Rakyat Negeri Melaka 4 Feb 8 Feb 2010
Pameran Laman Seni Putrajaya ke 25 bersempena Karnival keceriaan Putrajaya 20 Feb-21 Feb 2010
Malaysia Open 10 Feb-31 Mac 2010
MAC
Underwater Sceneries: 6 Mac - 6 April 2010
Japanese Design: 8 Mac - 11 April 2010
ABC: 30 Mac - 30 Julai 2010
Program Pertandingan Mewarna Seni di Sini 1 Malaysia di Gua Musang Kelantan pada 8 Mac 12 Mac 2010
Pameran Laman Seni Putrajaya yang ke - 26 27 Mac -28 Mac 2010
Pameran Catan Relief Kanak-kanak di Galeri 2C ( Pengkarya Muda) pada March Julai 2010
Pameran Dato Latt @ UTM Skudai : 22 Mac - 29 Mac 2010
APRIL
Kata Luhur A. Samad Said : 9 April - 30 Mei 2010
Pameran Abundant Australia : 19 April 31 Mei 2010
Bicara Seni Sempena A. Samad Said sesi bercerita Di Simpang Jalan dan Kata Luhur pada 21April & 28 April 2010
Artist at Lobby : 15 April - 31 Mei 2010
MEI
KL Design Week: 1 Mei - 16 Mei 2010
Program Pertandingan Mewarna Batik oleh Kanak-kanak Tadika sempena minggu perpaduan Negeri Kelantan di Sekolah Rendah
Ismail Petra pada 29 Mei 2010
Pertandingan Merwarna KUNTUM anjuran Majalah KUNTUM & McDonalds dengan kerjasama BSLN di ruang Lobi Aras 1 dan Anjung
Belakang pada 15 Mei 2010
WIEF@KLCC Convention Centre: 17 Mei - 20 Mei 2010
Shanghai World Ekspo 1 Mei - 31 Oktober 2010
JUN
Pameran Art Friend: 26 Jun 20 Julai 2010
Bengkel Arca 1 Malaysia sempena Cuti Sekolah di BSLN 8 Jun-10 Jun 2010
Pameran Karnival Cuti Sekolah Di Pasar Seni Jun 2010
Pameran Innofest 2010: 19 Jun - 20 Jun 2010
JULAI
Pameran Art Triangle : 7 Julai 7 Ogos 2010
MJVAX : 20 Julai 6 Ogos 2010
Majlis Makan Malam Bersama Ketua Pengarah : 23 Julai 2010
Bicara Seni Art Collecting Anjuran bersama Malaysian Art Friends di Galeri 2A BSLN 3 Julai 2010
Pertandingan Mewarna Kanak-kanak anjuran Malaysia International Dive Expo 2010 (MIDE 2010) di PWTC pada 30 Julai - 10 Ogos 2010
Pameran Seni di Putrajaya sempenaFloria 2010 : 9 Julai - 18 Julai 2010
Pameran Merakyatkan Seni dan Budaya (PMS) kawasan Lembah Pantai, KL pada 27 Julai 2010.
Bicara Seni 30 ARTFRIENDS di Auditorium BSLN Pada 10 Julai 2010
Bicara Seni ARTRIANGLE di Auditorium BSLN Pada 10 , 17, dan 24 Julai 2010
Bicara Seni bersama Dr. Sulaiman Esa sempena pameran Antara Bahan Campuran (ABC) di Auditorium BSLN pada 17 Julai 2010
Pertandingan Bakat Seni Kartun Merdeka: 15 Julai - 31 Ogos 2010
OGOS
Pameran KepadaMU Kekasih (Yang Maha Esa) : 10 Ogos 30 Sept 2010
Bengkel Seni Kreatif dan Seni Tampak di Krash Pad: 2 Ogos 2010
Bicara Seni bersama Haslin Ismail sempena Pameran Antara bahan Campuran (ABC) di Auditorium BSLN pada 7 Ogos 2010
Pameran NEGARAKU Zulkii Yusoff di Galeri 2C: 26 Julai - 17 Oktober 2010
Koleksi Tetap Antara Bahan Campuran (ABC) Bhg.2 : 20 Ogos - 10 Januari 2011
Malam Dirgahayu Tuanku: 4 Ogos 2010
SEPTEMBER
Pra Perasmian - Art Expo Malaysia 2010: 25 September 2010
Pameran Solo Cheng Haw Chen: Alam Seni: 28 September - 24 Oktober 2010
Dengan Cara Kita: 12 September - 24 Oktober 2010
Back Then These Day: 23 Sept - 23 Okt 2010
OKTOBER
4th Msia Art Expo @ Matrade : 28 Oktober- 1 Nov 2010
Penerimaan & Penghakiman Pertandingan Bakat Muda Sezaman 2010: 20 Oktober - 1 Nov 2010
NOVEMBER
Bakat Muda Sezaman : 20 Nov - 20 Feb 2011
Espectacular Lucha Libre : 15 Nov - 15 Dec 2010
X-Box Performance Art by Amir Zainorin : 22 - 25 November 2010
DISEMBER
Peti Seni bersama Rantai.Art dan BB Chun : 1 Okt - 31 Dis 2010
Batik Tangs : 17 Nov - 31 Dis 2010
Pameran Penjelmaan 1Malaysia di Parlimen : 29 Nov - 12 Dis 2010
Pameran Expectacular Lucha Libre : 30 Nov - 31 Dis 2010
Pameran Sempena Hari Inovasi : 30 Nov - 1 Dis 2010
Program Kemasyarakatan 1Malaysia Kampung Air (Pertandingan Kanak-kanak): 5 Dis 2010
Art Talk Lucha Libre : 9 Disember 2010
Program Seni Di Sini di Karnival Cuti Sekolah Central Market : 10 - 12 Dis 2010
Pelancaran Kelab Seni Di Sini sempena Pelancaran Ruang Interaktif Galeri 2C : 31 Dis 2010
Bengkel Cuti Sekolah : 18 & 19 Dis 2010
Merry Christmas dan Tahun Baru 2011: 19 Dis - Tahun Baru 2011
Laman Seni Putrajaya ke 31 Sambutan Tahun Baru : 31 Dis 2010
Year End Sale : 15 - 24 Dis 2010
Keterangan lanjut hubungi : usnita@artgallery.gov.my
BSLN KALENDER 2010
BSLN Publication
ARTTRIANGLE: SENI UNTUK
SENI KEPADA MASYARAKAT
KERANA SENI
Penghasilan katalog ini adalah
ilham daripada anggota
kumpulan MATAHATI, melalui
pameran ini ia mengambungkan
para seniman dari pelbagai
aliran dan latar belakang dari
tiga buah negara iaitu Indonesia,
Filipina dan Malaysia yang
bermatlamat satu; menabung.
Matlamat menabung ini adalah
supaya dapat membantu
meringankan penderitaan rakan
seniman yang memerlukan
bantuan kewangan dan juga
sebagai sumber galakan
pertumbuhan aktiviti-aktiviti seni
ISBN 978-967-5923-01-2
112 m/s
RM 40
KEPADAMU KEKASIH
Katalog KepadaMu
Kekasih diilhamkan khas
bersempena dengan
Kedatangan Ramadhan
dan sebagai tanda
kesyukuran kepada
Allah Yang Maha Esa.
Penerapan nilai-nilai
murni seumpama
ini diharap dapat
menemukan para
pelukis dan khalayak
dalam konteks wacana
keislaman yang boleh
ditarbiahkan dalam
pelbagai arus dan
bentuk penghayatan
samaada ilmiah
mahupun kesenian.
ISBN 978-983-3497-50-8
84 m/s
RM 20
BMS2010
Sebuah katalog pameran
yang memfokuskan kepada
pelukis muda yang bertanding
bagi menghasilkan karya yang
bermutu tinggi dan mempunyai
jati diri sebagai seorang
pelukis. Pelukis muda yang
berjaya dalam pertandingan
ini diberikan anugerah dan
insentif galakan. Pertandingan
ini mula diperkenalkan pada
tahun 1974 dan dibuka kepada
warganegara Malaysia yang
berusia di bawah 35 tahun.
CHENG HAW CHIEN
ALAM SENI / THE ART WOLD
Penerbitan buku pameran ini
bertujuan untuk menghidupkan
kembali tradisi lukisan berus cina
yang lahir bertahun lamanya. Melalui
penghasilan terbitan ini sebanyak 76
karya digarapkan sebagai tatapan
dan juga pengkongsian ilmu untuk
semua masyarakat Malaysia.
Kebanyakkan karya-karya yang
dihasilkan oleh Cheng Haw Chien
adalah di pelusuk Asia, Amerika,
Australasia dan Eropah.
ISBN 9789833497492
328 m/s
RM100
INVENTORI HIMPUNAN
TETAP WARISAN SENI
TAMPAK NEGARA
2004-2009
1065 karya terbaru
Himpunan Tetap Balai
Seni Lukis Negara yang
telah diperolehi dari
tahun 2004 sehingga
2009.
300 Muka surat
1065 Gambar Karya
berwarna
ISBN: -
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my
DEADLINE 31 JAN 2010
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WHATS ON
10:00AM - 10:00PM 15 Nov 2010 - 05 Dec 2010 |
Filed under The Arts |
Venue: Kuala Lumpur Performing Arts Centre
Address: Sentul Park, Jalan Strachan, 51100 Kuala
Lumpur | Train: Sentul (KTM)
Price: N/A | Contact: 03-4047 9000
E-mail: N/A | Website: www.shaliniganendra.
com
CAPTURING TWILIGHT pays tribute to and
explores the ancient dance forms of Makyong
and Chinese Opera. Karuppiahs images
capture the uidity of the dances and drama,
in various literal and semi-abstract guises.
Capturing Twilight shares with us its characters,
intensity and also soft rhythms and harmonies
of these declining arts. The exhibition also offers
a personal tribute to Master Elizabeth Choy
Yim Heong and the late Mek Sapiah as well
as members of these performing arts - for their
dedication and strength in keeping the history
and legacy alive.
AUTOMATONS
Muhd Sarip: Automatons
VWFA (Valentine Willie Find Art)
10 Dec 23 Dec 2010
The cross re amidst canvases depicting
combative toy robots from popular TV cartoons
in Muhd Sarips Automatons depict a battle
arena that is treacherously playful. As they don
war armature and strike a ready battle pose,
these toy gures, in spite of their association with
playtime, take on larger than life roles in playing
out a veiled critique on the real world challenges
faced by the artist.
Beautiful People
14/11/2010 6:00 PM - 31/12/2010 6:00 PM
Venue: Core Design Gallery
Address: No. 87, Jalan SS 15/2A,, Subang Jaya,
Malaysia, 47500
Whenever a person is described as beautiful, the rst
that strikes the mind would usually be the physical
attributes of the person. The very image of an
attractive proportionate gure, chiseled features
clothed with impeccable styles by high prole
fashion designers inspired by the likes of Hollywood
& Bollywood uprising stars come to mind. However,
there would be some others who dene and perceive
beauty or beautiful people as people who
possess admirable skin-deep qualities. As the saying
goes, beauty is in the eyes of the beholder, one
will observe & analyze how anothers perception
or denition of beautiful people shown through
artworks by a group of artists this coming November.
Inception, Continuity & Beyond: An Art Exhibition
of the Oriental Masters
14/11/2010 1:00 AM - 31/12/2010 1:00 AM
Venue: Oriental Art & Cultural Center
Address: No. 10 & 12, 2nd & 3rd Floor, Pusat Elken,
Jalan 1/137C, Batu 5, Jalan Kelang Lama, Kuala
Lumpur, Malaysia, 58000
Thus, this exhibition is also loosely inspired by
the diversity of artistic medium, expression,
techniques and methods many of our pioneers
have perfected throughout the years. These
media included the more common tradition of
oil, acrylic and watercolour to chinese ink, batik,
printmaking, sculpture, and ceramic.
20/11/2010 10:00 AM - 11/12/2010 6:00 PM
Venue: Pelita Hati Gallery of Art
Address: 1st Floor, No 8, Jalan Abdullah,Off Jalan
Bangsar, Kuala Lumpur, Malaysia, 59000
KAWAN
With participating artists:
ANASSUWANDI AHMAD, AZMAN HILMI, HAMDAN
SHAARANI,IZADDIN MATRAHAH, JOHAN MARJONID,
MOHD JAMIL MAT ISA, NASIR CHE DIN, ZAKARIA SHARIF
& ZAINON ABDULLAH.
As G. Randoff put it True good Friends are hard to
nd, difcult to leave and impossible to Forget! True
friends need not meet up often to make sure that
the friendship remains constant. However friends do
need to meet up once in awhile such as in the case
here-to hold an art exhibition together. Friends similar
interests, mutual respect and strong attachment
with each other-those are what these friends share
between each other. Friends get together to have
this exhibition with art as their most common interest.
Hopefully what interests them most will become a
priceless treasure later in their lives.
A GROUP ART EXHIBITION
01/11/2010 12:00 PM - 31/12/2010 12:00 PM
Venue: Muzium & Galeri Tuanku Fauziah
Address: Universti Sains Malaysia, 11800 USM, Penang,
Malaysia
Making archive archiving the making
Students from the Masters of Art (Visual Art & Design
2010/11) programme at the USM School of The Arts
are currently putting up an exhibition as part of the
tradition of studio-based postgraduate research.
The M.A. The Making Archive is the theme for
this process-oriented exhibition, featuring a number
of student works that are in progress that would be
developed further into their graduation show next
year. The contributors are Philips Loh Kar Mun, Azmi
Mansor, Nuzul Haqimi Muhammad, Maizul Affendy bin
Baharudin, Leila Kakaabdollahshirazi and Liew Ting
Chuang @ TC Liew. They are young practitioners who
come from very diverse backgrounds that include
journalism, automobile design, building sciences,
illustration, advertising and ne art. This exhibition
will be opened for public viewing from 1 November
to 31 December 2010. Invitations are extended to
art learning centres, schools, art academies and
colleges, seeking for meaningful and constructive
exchanges among art students. It is hoped that by
documenting the unique artistic processes of each
individual and sharing them with the audience they
may contribute to the enrichment of art pedagogy in
technical, conceptual, contextual and philosophical
sense.
We welcome invitation by group (10 20 persons) for
1-day program in USM School of The Arts & Muzium &
Galeri Tuanku Fauziah USM. We conducts workshop
for students and parents to get to know more about
colour, visual language and casual art appreciation
with reasonable fee. (fund raising for USM MA studio
2010/11) For further information please contact
studio representative Mr. TC Liew on 0124008023 for
appointment. We welcome art learning centres,
schools, art academies and colleges.
PASSAGE TO THE FUTURE: Art from a
New Generation in Japan
The Japan Foundation, Kuala Lumpur (JFKL) will
present an exhibition titled Passage to the Future:
Art from a New Generation in Japan from 8 24
December 2010 at Galeri Shah Alam, Shah Alam
and from 7 23 January 2011 at Bangunan No. 57,
Macalister Road, Penang.
Passage to the Future: Art from a New Generation
in Japan focuses on art produced in Japan at the
beginning of the 21st century. It showcases 42 works
paintings, sculptures, installations, photographs,
and videos of eleven young Japanese artists who
are presently attracting a great deal of attention,
namely Atsushi Fukui, Satoshi Hirose, Maywa Denki,
Tomoyusu Murata, Tetsuya Nakamura, Masafumi
Sanai, Yoshihiro Suda, Tabaimo, and Miyuki
Yokomizo.
Passage to the Future: Art from a New Generation
in Japan will allow viewers to experience the
freshness and vitality of current Japanese art and at
the same time provides an opportunity for renewed
thinking and debate about the fundamental appeal
and meaning of art.
This exhibition is organized by The Japan Foundation,
The Embassy of Japan, The Consulate General
of Japan in Penang, Galeri Shah Alam, Penang
State Museum Board, and Muzium & Galeri Tuanku
Fauziah at Universiti Sains Malaysia.
GALERI CHANDAN
Invites you and your partner to the opening
reception of a solo art exhibition by Abu Bakar
Idris
Taman Syifa Healing Garden
Saturday, 18th December 2010, 8.00pm
At Galeri Chandan
15, Jlan Gelenggang
Bukit Damansara
50490 Kula Lumpur
Exhibition opens to public from 11th December
2010 until 13th January 2011
TO ADVERTISE IN
PLEASE EMAIL TO...
an i s @ar t gal l e r y . go v . my
Yin Yen Sun, How did it go 2010, Emboss Dye Print and Plaster
Cast, 427 x 320 z 250cm
I would like to express the phenomenon and process of our
living environment that is gradually changing through this
artwork.
I use soft fabrics to hint on the powerless traditional buildings.
Silkscreen printings acts as a video that narrates paragraphs
of stories, just like a seal that cannot obliterate, it records and
witness our history.
The ordinary feeling from fabrics gives us a familiar and
comfortable feeling, and this have also contrast with the
repetition of modern civilization, regular pattern and rationality
of human. Therefore, the creation of clay modeling expresses
the modern machine-like lifestyle.
YIN YEN SUN
M a l a y s i a n a r t n o w
> I S M A I L H A S H I M : P A M E R A N R E T R O S P E K T I F
> R O B E R T R A U S C H E N B E R G : Y a n g T e r a g u n g
>
> M A L A Y S I A S F I R S T A R T A U C T I O N
R E C O R D E D S A L E S I N E X C E S S O F R M 1 . 7 M
> S E B U K I T B I N T A N G :
S t a r s O n T h e H i l l
A E M 2 0 1 0 R E V I E W