PERTARUNGAN : AMRON OMAR

MEDIUM, TUBUH DAN AIDA REDZA

HENRY BUTCHER MALAYSIANART AUCTION 2012

BATIK AND ANN DURHAM’S LEGACY

ART & CULTURE AS AN INTERDISCIPLINARY PROCESS

THE PRIMORDIAL AND FANTASTICALWORKS OF CHANG YOONG CHIA

EXIT FROM MANDALAY

16#

Ambassador Dato’ Mohd Yusof Ahmad

Editor-In-Chief

Salam Sejahtera dan salam 1Malaysia!

Selamat bertemu kembali dalam .

Kita telah pun mencecah pertengahan tahun ini dan kami di BSVN telah berjaya mengusahakan pelbagai program, pameran dan aktiviti berkaitan seni seperti yang dirancang.Saya sukacita mengumumkan bahawa kami sedang dalam usaha menubuhkan Galeri Potret Negara yang pertama di Malaysia yang akan bertempat di bahagian tambahan BSVN. Ia akan mempamer potret tokoh-tokoh terkenal yang telah memberi sumbangan kepada perkembangan Malaysia moden, yang dikaryakan oleh pelukis-pelukis terkenal dan pelukis-pelukis yang sedang mengukir nama.

Saya berterima kasih kepada Kementerian Penerangan, Komunikasi dan Kebudayaan terutamanya kepada Dato’ Seri Utama Dr. Rais Yatim diatas sokongan berterusan dan juga kepada Dato’ Ghafar Thamby, Timbalan Ketua Setiausaha (Kebudayaan) diatas bantuan kewangan diawal penubuhan dan pengubahsuaian Galeri ini. Pembentukan galeri ini merupakan satu lakaran sejarah seni moden Malaysia sekaligus membentuk perkembangan seni potret sebagai satu genre yang lebih serius di Malaysia pada masa hadapan.Alhamdulillah, khidmat sebagai Ketua Pengarah BSVN telah dilanjutkan dan ini memberi saya lebih masa untuk membuat lebih perubahan didalam hala tuju BSVN untuk terus member khidmat kepada pelanggan dan pihak yang berkepentingan kami. Banyak yang telah dirancangkan, dan izinkan saya berkongsi sedikit tentang apa yang sedang dijalankan pada masa ini. BSVN akan menerbitkan semula buku atau katalog penting yang kehabisan stok seperti katalog ‘Visions and Ideas’, ‘Rupa Malaysia’, ‘Semangat Pelapor Seni’, ‘Photography:History and Beyond’, ‘Young Contemporaries in Review’ dan lain-lain di dalam format yang bersesuaian. Katalog ini akan diterbitkan di dalam dua bahasa iaitu Bahasa Malaysia dan Bahasa Inggeris yang boleh diperolehi pada hujung tahun ini.

Kami juga akan melihat kemungkinan mendapatkan hak untuk menerbitkan semula sebuah penerbitan yang amat penting berkait rapat dengan seni moden Malaysia terbitan Dewan Bahasa dan Pustaka (DBP) berjudul ‘Rupa dan Jiwa’ oleh Seniman Negara Datuk Syed Ahmad Jamal dan ‘Modern Malaysian Artist’ yang diedit oleh T.K Sabathy dan Redza Piyadasa. BSVN juga didalam proses mengumpul terbitan rangkaian penulisan-penulisan seni dan dokumen diantara tahun 1960-an - 2000 untuk diterbitkan semula sebagai “Malaysian Modern Art: A Reader”. Ia mengandungi antara lain tulisan terpilih yang diambil daripada dua peristiwa yang monumental iaitu Asas Kebudayaan Kebangsaan (1971) dan Akar-Akar Kesenian Pribumi (1979) yang ditakrifkan sebagai watak seni moden Malaysia hari ini.

BSVN dengan kerjasama Universiti Malaya (UM) akan menerbitkan beberapa siri monograf berkenaan seni kontemporari Malaysia lanjutan dari perjanjian persefahaman yang telah ditandatangani oleh BSVN dan Universiti Malaya (UM). Bahagian Penyelidikan dan Bahagian Pendidikan pula akan menganjurkan siri kuliah/diskusi ilmu sebagai penghormatan kepada tokoh intelektual utama dalam dunia seni tempatan dan antarabangsa iaitu Ismail Zain. Dengan tajuk “Siri Kuliah Ismail Zain”, program ini menampilkan beberapa penceramah yang merupakan tokoh-tokoh utama di dalam bidang seni, sastera, sosio-politik dan budaya sepanjang tahun ini dan akan datang. Kuliah tersebut akan diadakan di BSVN dan dibuka kepada golongan profesional yang mempunyai latar belakang ilmiah. Segala maklumat akan dipaparkan melalui laman web dan Facebook BSVN.

Bulan Ogos ini, BSVN akan mencatat usia 53 tahun. Telah sampailah masanya untuk BSVN mewujudkan pameran tetap karya seni yang bertindak sebagai dokumen/bukti sejarah 60 tahun Seni Moden Malaysia. Pameran karya yang dipilih dari koleksi tetap BSVN akan memperlihatkan kronologi seiring dengan rancangan kami untuk menamakan setiap galeri BSVN dengan nama tokoh-tokoh dari tiap era masing-masing. Saya amat sedar akan kepentingan mengadakan pameran tetap ini dengan mempamerkan karya ulung negara. Ini secara efektifnya akan mendidik, memupuk kesedaran dan penghargaan orang ramai kepada rakyat, sejarah, pertubuhan dan pelukis. Ia juga akan menanam kebanggan negara, menggalak pemikiran yang kreatif yang sekaligus meraikan ekspresi masyarakat yang menyumbangkan kepada kewujudan negara.

Dua tahun yang berlalu ini adalah perjalanan dan pengajaran yang amat berguna bagi saya dan kakitangan saya, dan saya berharap dengan penyambungan khidmat saya serta sokongan dari kakitangan dan juga masyarakat, BSVN akan lebih maju khasnya dari sudut penyelidikan, kuratorial sekaligus pameran.

Terima-kasih sekali lagi diatas sokongan berterusan anda.

Greetings and Salam 1Malaysia!

Welcome once again to the latest installment of .

We have now reached the first half of the year and have successfully carried out the programs, exhibitions and art-related activities as planned.

I am also pleased to announce that we are in the midst of setting up the country’s 1 st National Portrait Gallery which will for now, be located at an extended section of the NVAG. It will feature portraits of prominent figures who had contributed to the developments of modern Malaysia, painted by equally prominent and up coming and past Malaysian artists.

My sincere thanks to the Ministry of Information, Communication and Culture, especially to our Minister Dato Seri Utama Dr. Rais Yatim’s continual support and Dato’ Ghafar Thamby, the Deputy Secretary of Culture for the financial assistance in the initial set up and renovation of this Gallery. The formation of this gallery is a milestone in the history of modern Malaysian art and will set standards in the further developments of portraiture as a serious genre in Malaysia for years to come.

Alhamdullilah, my tenure as Director-General of the NVAG has recently been renewed allowing me more time to carry out more changes in the direction and running of the Gallery to better serve our clients and stakeholders. There is plenty in store but allow me to share with you some of the plans that are currently underway. The NVAG will republish important seminal books/ catalogs that are already out of print such as ‘Visions and Ideas’, ‘Rupa Malaysia’, ‘Semangat Pelapor Seni’, ‘Photography:History and Beyond’, ‘Young Contemporaries in Review’ among others in formats that are affordable. The catalogs will be printed in both Bahasa Malaysia and English and will be available to the public by the year’s end.

We will also look into the possibility of obtaining the rights to republish important publications related to modern Malaysian art by Dewan Bahasa dan Pustaka (DBP) namely ‘Rupa dan Jiwa’ by Malaysia’s Art Laureate Datuk Syed Ahmad Jamal and ‘Modern Malaysian Artists’ edited by T.K Sabapathy and Redza Piyadasa . We are in the process of compiling art writings and documents published between 1960s-2000 to be republished as ‘Malaysian Modern Art:A Reader’. It contains among others, selected writings taken from two monumental events namely the Dasar Kebudayaan Kebangsaan (1971) and Akar-Akar Kesenian Pribumi (1979) which defined the character of Malaysian modern art today.

We will also be publishing a series of monographs on contemporary Malaysian art in collaboration with the University of Malaysia (UM) following the recent signing of MOU between our two institutions. Our research department, supported by the education division is organizing a series of talks/ lectures in honor of the key intellectual figure in local and international art scene, Ismail Zain . Entitled the ‘Ismail Zain Lecture Series’, it will feature a host of speakers who are prominent figures in the fields of art, literature, socio-politics and culture throughout this year and next. The lectures to be held at NVAG are open to professionals with diverse intellectual background. Information will be made available through our website and Facebook.

In August, the Gallery will be 53 years old. It is timely that the Gallery establish a permanent display of artworks that serve as documents/testaments to the 60 year old history of Malaysia’s Modern Art. This exhibition of selected artworks from the Gallery’s permanent collection will be presented in a chronological order and will coincide with our plan to officially designate each of our exhibition gallery the name of prominent figures who have defined the era in which they operated. I am fully aware of the importance of having a permanent display of master artworks for a country. It is an effective means of educating, inculcating awareness and appreciation for our people, history, society and artists. It instills national pride, promotes diverse and creative thinking as well as celebrates the expression of the peoples that makes a nation.

The last two years have been a great learning curve for me and my staff, and I hope with my extension of service and with the support of my staffs and the public, the Gallery will see more improvements in terms of research, curatorial as well as exhibitions.

I thank you again for your continual support.

16

PUBLISHER Balai Seni Visual Negara (BSVN)National Visual Arts Gallery Malaysia(NVAG)Ministry of Information, Communications and Culture MalaysiaNo 2. Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur MALAYSIA

P : 603 4026 7000 F : 603 4025 4987

www.artgallery.gov.mywww.facebook.com\artgallery.gov.my

| EDITOR-IN-CHIEF Ambassador Dato’ Mohd Yusof Ahmad l EDITOR Tan Seihon | ASSISTANT EDITORS Hasimah Nyok, Osmihamidy Osman, Norsharzeela Shaharuddin | HEAD DESIGNER Shamizar Rahim | DESIGNER Norhaslina Ahmad Kamsin | PHOTOGRAPHY Mohd Khazrul Sharuddin, Mohd Yuzaini Ahmed, Mohd Adzim Abd Wahab, Intan Idarina Mohammad Kusaiirry & Mohammad Hisyamuddin Ramli | Translation of Editor's Notes by Zuriyadi Sarpin

senikini is designed by Nuzaihan Mustapa

Medium, Tubuh dan Aida Redza | Intan Rafiza

10

Batik And Ann Durham's Legacy/ Shing Yi Tan

Art & Camouflage

Seni di Sini: Ayuh Mengayuh! Charactors Go Cycling

26

29

31

14

24-25

Art & Culture As An Interdisciplinary Process | Peter Tomaz Dobrila 22

George Town Festival 201217

Badan ku 'Journal', 'Tatoo' ku Ceritanya | Hasimah Nyok 11

Tiba Masa Kurator Muda Berperanan Dalam Senirupa Malaysia | Erry Arham

Mengingati Seorang Pop: Ahmad Azhari Mohd Noor | Baktiar Naim21

Of Glimpses and Inspiration at 'Time Past is Present' | Kenry Lye

Rabindranath Tagore : The Last Harvest23

28

30

32-33

15-16

Pertarungan : Amron Omar 18-19

Membaca Objek | Faizwan Mat 20

C O N T E N T S

can be accessed at www.artgallery.gov.my/web/guest/senikini_bslnwww.facebook.com/senikini.bslnsenikinibsln.blogspot.com

Any feedbacks and comments please email to us at :sharzeela@artgallery.gov.my and tanseihon@gmail.com

The publisher, National Visual Arts Gallery Malaysia,holds the copyright to all editorial content.

SENIKINI (ISSN : 1985-7233) is published four timesa year by the National Visual Arts Gallery Malaysia.

All Rights Reserved.Copyright © 2012 SENIKINI Malaysian Art NowPrinted in Malaysia.

COVER ART for #16 by Amron Omar

'Pertarungan', (2007) Oil Pastel on paper, 74 cm x 54 cm, Collection of Bingley Iskandar & Ima Norbinsha

Exit From Mandalay : Chelsea Hikes

Mat Salleh or not Mat Salleh : Mishko Desovski

BSVN Sana-Sini

Malaysian International Contemporary Art Exhibition at Soka Gakvkai

Henry Butcher Malaysian Art Auction 2012 | Ooi Kok Chuen

"Liu Cheng Hua, Apa Khabar Kamu?" | Arham Azmi 8-9

Sam Karuna: Contemporary Batik Artist 27

The Primordial and Fantastical Works of Chang Yoong Chia | Tan Sei Hon

13

G A L L E R Y

COMING SOON

Portraits of Malaysians about Malaysia

www.ar tga l ler y.gov.my

3

‘KUASA, HARAPAN DAN TANAH’

www.ar tga l ler y.gov.my

7 Ogos-19 Nov 2012*Pictures taken in 2011

‘KUASA, HARAPAN DAN TANAH’

www.ar tga l ler y.gov.my

7 Ogos-19 Nov 2012*Pictures taken in 2011

Baru -baru ini, saya sempat untuk membuat kunjungan santai ke rumah perupa Malaysia

Zulkifli Yusoff, beliau pun sudah beberapa kali mempelawa saya mengunjungi Serigala Art Space, katanya “Arham, meh la datang sini, durian banyak ni” dalam satu perbualan telefon sebelum itu. Selepas dari pameran NEGARAKU di Balai Seni Visual Negara, rasanya hampir berbulan juga saya tidak berborak panjang dengan Zulkifli Yusoff memandangkan terlalu sibuk dengan urusan duniawi lainnya. Oleh itu saya memilih satu hari yang sesuai untuk berkunjung ke rumahya dan ketika tiba di hadapan rumahnya saya ternampak seorang anak muda, berkulit cerah, bermata sepet dan berbangsa cina berdiri menunggu seseorang disebelah rumah Zulkifli Yusoff.

Liu Cheng Hua, graduan Universiti Pendidikan Sultan Idris, menimba ilmu dari adigurunya Zulkifili Yusoff, seorang perupa muda yang begitu cekal dan yakin untuk menjadikan perupa sepenuh masa sebagai profesionnya. Kemunculan Liu dalam industri seni rupa Malaysia tidaklah begitu tampak jelas akibat dari kesaingan yang sangat hebat pada abad ke-21 ini oleh perupa-perupa muda dari institusi-institusi lain, namun Liu, seorang anak muda berbangsa Cina yang boleh saya katakan sangat berbudi bahasa, dan fasih ketika berbicara dalam bahasa kebangsaan Malaysia tetap utuh mahu menjadikan pragmatik kreasi seni rupanya sebagai sokongan kepada arus industri seni rupa di Malaysia. Mari saya bawa pembaca mengikuti dialog saya bersama Liu Cheng Hua memandangkan dia orang pertama saya jumpa ketika tiba di Tanjung Malim.

ARHAm : Yo Liu, Apa Khabar...

LIU : Khabar baik Arham...

ARHAm : Apa cerita Liu?, aku dengar hang pi residency... kat mana?

LIU : hahah, ya...saya baru balik dari Surabaya, Indonesia... ada Biennale Jawa Timur..

ARHAm : Ha! Biennale Jawa Timur... apa ada kat Biennale Jawa Timur tu ? (oleh kerana terlalu banyak biennale, triennale dan lelele yang seangkatan dengannya pada masa kini, saya pun sengaja tanyakan pada Liu tentang Biennale yang dia sertai tu)

LIU : Saya difahamkan bahawa pameran seni rupa Biennale Jawa Timur atau singkatannya Biennale Jatim berlangsung dua tahun sekali. Penganjurnya adalah Dinas Kebudayaan dan Pariwista Pemerintah Provinsi Jawa Timur. Biennale Jatim sebelum ini hanya mengundang perupa-perupa khususnya di Jawa Timur dan sekitar Indonesia. Tetapi Biennale Jatim kali ini yang keempat “IV” telah mula membuat satu keputusan yang luar biasa dengan mengundang perupa-perupa luar daripada Indonesia iaitu Malaysia, Thailand, Filipina dan Perancis. Saya juga difahamkan bahawa Biennale Jatim kali ini merupakan salah satu event untuk memeriahkan Hari Jadi Provinsi Jawa Timur dan Visit East Java 2011. ARHAm : Bila dia start ni? siapa kuratornya bro?

LIU : Biennale Jatim IV yang bertemakan “Transposisi” bermula pada 16-24 Oktober 2011 di beberapa lokasi di kota Surabaya. Di antara lokasinya adalah House Of Sampoerna, AJBS Gallery, CCCL, GO Art Space, Orasis Art Gallery dan Galeri Surabaya. Kurator Biennale Jatim terdiri daripada dua orang iaitu Agus Sukamto

| ARHAM AZMI

dan Syarifuddin. Kalau tak silap, Agus Sukamto atau lebih dikenali sebagai Agus Koecink aktif sebagai kurator dan beliau adalah salah seorang penulis dalam majalah ‘Visual Arts’ di samping Ketua Jurusan Seni Rupa di STKW Surabaya. Manakala Syarifudin pula mendapat Pendidikan Seni Rupa IKIP Malang gemar memberi workshop penulisan seni rupa, camera tracking, teori seni dan ‘EDUanimate’.

Arham : Siapa-siapa lagi yang terlibat dalam biennale ni bro?

LIU : Sebanyak 113 perupa yang menyertai Biennale kali ini. Di antara perupa dari Indonesia yang saya ingat adalah Agus Triyanto, Agung Suryanto (Tato), Taufik Monyong, Imam Abdillah, Monika Ary Kartika Soetjipto, Nani Sakri, Rocka Radipa, S.Dwi Satya (Acong) dan Acong), Yaksa Agus dan lain-lain. Perupa dari luar Indonesia adalah saya, Dennis montera (Filipina), Jakraphun “Jack” (Thailand) dan Alexandre Eudier (Perancis).

ARHAm : Semua aku tak kenal...hahahaha...kau sorang je yang aku kenal, Yaksa Agus tu macam friend aku kat Facebook jer...friend facebook la, borak tak pernah lagi...hahahah..

LIU : hehehehe (ikut gelak juga)

ARHAm : Habis tu hang pi ni atas jemputan ke atas permohonan ni Liu?

LIU : Saya dijemput oleh penganjur sebagai perupa mewakili dari negara-negara ASEAN. Saya meletakkan Biennale Jatim sebagai pentas antarabangsa yang sangat penting buat diri saya dan negara.

ARHAm : Habis tu kos ke sana amacam, hang tanggung sendiri ka?

pg/08

LIU : Sebenarnya, setelah saya mendapat surat jemputan daripada pihak penganjur, saya agak runsing dan tertekan. Sebagai perupa muda, saya berdepan dengan pelbagai masalah. Masalah yang paling menghantui saya adalah berkaitan dengan kewangan. Saya mengambil keputusan untuk memohon dana untuk menampung kos perbelanjaan dalam proses berkarya, kos penghantaran karya (dua hala) dan kos pernerbangan (dua hala). Pelbagai masalah yang saya hadapi dalam proses permohonan dana tetapi saya tidak berputus-asa.

ARHAm : habis tu dapat ke dana yang kau mintak tu? LIU : Saya telah mendapat tajaan dari tiga pihak : House of Matahati (RM500), Balai Seni Visual Negara (RM1800) dan Universiti Pendidikan Sultan Idris (RM1000). Jumlah keseluruhan yang saya dapat adalah RM3300. Saya pakai duit sendiri lebih kurang RM1700.

ARHAm : Eh, hang bawa work hang yang mana satu ha?...work baru ka work mana yang ada je..hahahah

LIU : Hahaaha, tak lah Arham, saya buat work baru. Saya ambil masa lebih kurang sebulan dalam proses menghasilkan karya instalasi saya yang bertajuk “Kebanggaan”, pelbagai saiz, bahan gentian kaca, resin, besi dan peranti elektronik, Tahun 2011 dipamer di Pameran Seni Rupa, Biennale Jawa Timur IV, Galeri Surabaya, Surabaya, Indonesia.

ARHAm : Hang citer kapitan cina lagi ka Liu..?

LIU : Ye la Arham, Karya saya melihat kembali sejarah Kapitan Cina Larut Matang dari tiga sudut iaitu pendidikan (keluarga), teknologi (kamera) dan pakaian. Pertama, kemampuan orang kaya dulu iaitu 'Kapitan' untuk menghantar anak2 mereka belajar tinggi khususnya di sekolah Inggeris dan luar negara. Kedua, peti kamera di kediaman Kapitan merupakan satu alat perakam yang teristimewa kerana bukan semua golongan masyarakat pada

zaman dulu mampu memiliki dan boleh merakam setiap peristiwa dan hari kebesaran. Ketiga, pakaian keluarga Kapitan yang berciri tradisional Cina yang telah diadaptasi dengan masyarakat tempatan Melayu.

ARHAm : Ha, sambung lagi..aku nak dengar pasai work hang ni..

LIU : Jika melihat pada zaman sekarang, pendidikan diberi adalah sama rata semua orang boleh belajar. Semua orang boleh melanjutkan pelajaran dan tiada alasan untuk tidak berpeluang untuk belajar. Kedua, kemungkinan istilah 'kamera' mungkin pelik untuk masyarakat dulu. Tetapi alat ini sangat biasa bagi kita pada zaman sekarang. Boleh merakam saat walau di mana kita berada. Ketiga, permakaian baju tradisional tidak diamalkan lagi pada zaman sekarang. Kalau ada, mungkin untuk tahun baru iaitu setahun sekali. Konsep yang saya terapkan dalam karya “Kebanggan” adalah dalam suasana harmoni untuk menjelaskan penceritaan kisah Kapitan Chung Keng Kwee. Olahan bentuk semi sfera dalam menggabungkan cahaya lampu yang terpancar dalam instalasi sebagai bahantara kontemporari serta interpretasi dan presentasi baru (dalam konteks seni rupa Malaysia) dalam penceritaannya yang dapat dilihat melalui bayangan visual yang terpapar di permukaan semi sfera. Terdapat tiga saiz sfera yang digabungkan supaya gaya persembahan karya lebih dramatik dan kontra.

Sfera-sfera yang wujud itu secara langsung dapat menyatakan bahawa mesej yang hendak disampaikan oleh saya adalah bersifat universal yang boleh diterima oleh masyarakat umum.

ARHAm : Ni Liu, aku nak tanya sikitla, penting sangat ka Biennale?

seni rupa sejak 2007 telah menampakkan hasil.

ARHAm : Hang rasa Biennale patut buat kat Malaysia ka?, aku rasa tak payah la.., buang masa je..(memprovokasi Liu, hahaha)

LIU : Apa salahnya kalau negara kita ada Biennale. Mungkin ianya satu perkara yang baik kepada negara di mana semua perupa, pengkritik seni, penulis, pencinta seni dan penggiat seni dapat bekerjasama untuk menjayakannya. Kita perlu melihat di sekitar negara jiran ada Singapore Biennale, Jogja Biennale, Jakarta Biennale dan sebagainya. Saya rasa perkembangan seni rupa kontemporari di Malaysia setanding dengan negara jiran. Saya juga yakin negara kita mampu untuk mengendalikan pameran besar seperti Biennale.

Seiring dengan Akta Lembaga Pembangunan Seni Visual 2011 baru-baru ini di Balai Seni Visual Negara, kalau tak silap saya iaitu: 'Memperluas skop seni lukis, Melangkaui operasi sebagai galeri, Seni visual sebagai industri, Membantu kemajuan pengusaha seni visual dan Meneroka pasaran produk seni visual', saya rasa dengan adanya Biennale, ianya adalah lengkap dan sesuai dalam memartabatkan seni visual negara serta boleh tunjuk kandungan seni visual kepada dunia. Lebih ramai perupa, kurator, penulis, pengajar, pengiat seni dan pencinta seni juga akan lahir melalui Biennale.

ZULKIfLI YUSOff : Arhaaaammm..!

ARHAm : Oii Liu, tu Zul dah panggil tu, nak ajak aku g serigala la tu, jom sekali

LIU : jom...

Ga

mb

ar :

Liu

Ch

en

g H

uaLIU : Saya rasa sangat penting. Seperti yang sedia

maklum, perkembangan seni rupa di Indonesia berganjak dengan pantas. Adalah satu peluang dan pendedahan yang sangat berguna kepada saya untuk melihat aras seni rupa di antara Malaysia dan Indonesia. Keterlibatan saya di dalam Biennale ini juga telah menjadi satu titik mula persefahaman dua hala iaitu Malaysia dengan Indonesia serta signifikan Biennale Jatim IV terhadap Malaysia atau disebaliknya.

ARHAm : Habis tu, apa yang hang dapat masa kat sana?

LIU : Di samping peluang dan pendedahan, saya juga dapat berkenalan dan berinteraksi dengan perupa, kurator, penulis, pengajar, pengiat seni dan pencinta seni di Indonesia khususnya di Jawa Timur. Di situlah saya berkongsi pemikiran, konsep, teori, media, teknik dan gaya untuk menghasilkan karya seni dalam nafas baru. Saya dapat respon yang positif apabila saya menerangkan pernyataan karya saya kepada audien. Ini bermakna masyarakat di sana telah mula mengetahui budaya dan sejarah Malaysia. Saya selaku perupa dan anak Malaysia yang pertama untuk menyertai pameran seni ini adalah sangat penting dalam mengembang identiti negara. Ini juga merupakan satu pengiktirafan kepada saya. Saya bersyukur kerana kegigihan selama ini dalam bidang

Recently I traveled to Delhi and Mumbai on my college summer vacation. It's

amazing that the city of Mumbai and Delhi has numerous art galleries and art museums, namely, the National Gallery of Modern Art (NGMA) Delhi, NGMA Mumbai and Kiran Nadar Museum Of Art (KNMA) which has a wider range of art collections for example.

I visited the NGMA Delhi, coincidently where they curated a show entitled 'In the Seed of Time'....When I got there, I was completely overwhelmed by the arrangements according to the different periods of Indian Art. They began with the 'Indian Miniature Paintings' which were small paintings of Indian figures coupled with very decorative patterns, some of which depicts the life of a king in a palace and filled with many beautiful female figures while others were images of people playing Indian classical instruments. The technique of the painting is unique in terms of the color pigments used and is two dimentional in its presentation. However, the objects and spaces and every element was drawn with very fine and delicate lines.

Then came the period of time when British colonized India and introduced oil painting. They brought a few famous British painters like Thomas Daniel to paint the sceneries of India and to document the architecture. One of the renowned indian artists who explored oil painting was Raja Ravi Verma who developed a technique called 'Oleography' print making.

Most exciting thing about Indian art history is that they had few major changes and transition in visual art languages. Only a handful of major movements occured in a few centuries. For example, after the introduction of oil painting, there was a famous Bengal art school that came up with very different visual works including the thought processes and techniques that are completely different from what they knew from oil painting and miniature painting.

The Bengal school had infused oriental Chinese and Japanese elements into a new visual language. I was introduced to the type of wash painting technique that is taught at the Bengal school by my artist friend. The paintings will indergo many washes of watercolor using the layering method, and he applies colors and washes the painting repeatly.

I stayed on until the opening event ended and had a peaceful time looking at the works and also chatted with the artist. Sudip Roy took a long breath, spoke about his works and I saw a glimpse of happiness in his eyes.

Personally, what I have experienced from this exhibition was very inspiring; I saw the developments of an artist who found different ways to express his personal subjects and also the transformation of visual forms and expression from the past till the present, where he found a new voice in painting with which he could express himself more beautifully in a different way. It is a process of growth that I can identify with and appreciate.

1 . TIME PAST is PRESENT exhibition in Jehangir Gallery, Mumbai

2 . Pritish Nandy(on the left, well known poet and film producer) with Sudip Roy and his most recent abstract painting.

3 . OIl paintings with abstract forms and reflective metalic panels in between two canvases.

| KENRY LYE

Kenry Lye is a young artist from Malaysia and is currently residing in Baroda City, Gujarat.

1 .

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early works till the present, of various subject matters that also touches on his personal experiences. I noticed that he painted one beautiful figure entitled 'Charulata', the name of a character from a Bengali movie(The Lonely Wife). He also painted alot of Mumbai's architecture, the Sadhu ('Saint' in Hindi) over the Ganges Rivers and most recently, abstract works which were a tremendous personal change from his realistic subject matters. I spontaneously asked a visitor; "How do you respond to this 'TIME PAST is PRESENT' exhibition?" He replied, "Its an amazing journey of how he found himself in painting, in this retrospective collection of works."

Later, another progressive movement emerged, namely the Bombay Progressive Artists Group, around 1947. This influential group was initially formed by Francis Newton Souza, S. H. Raza, S. K. Bakre, M.F. Hussain and K. H. Ara and is associated with Expressionism to elements of Abstraction. They initiated progressive changes and encouraged the expression of more personal ideas as well as freedom to explore personal visual languages. At the same time, I saw a few works by Amrita Sher-gil which captures the ordinary daily lives of Indian villagers. One of her work while she was studying in Paris had earned her an 'Associate of the Grand Salon'. Her works too were as equally impactful as the Bombay Progressive Artists Group.

From what I've observed, there were many progressive art movements and actions initiated by artists to bring about change in order to break the montonous rhythm of artistic developments in India in the past. I am moved by the stories I've heard and by the history of Indian Art. This phenomenal event in art gave new hope for the search for more breakthroughs in visual perception and especially in visual art making. I am even inspired start a movement to lead many potential painters to create an impact again! The sense of responsibilty as an artist to think critically is vital so as to prevent the domination of convention of thoughts in society and in artistic practices in general.

While in Bombay, the first gallery I came across was Jehangir Gallery. I was attending one of the exhibitions in that gallery, called "Time Past is Present" by Sudip Roy. Jehangir gallery is one of the most recognized galleries and has a warm atmosphere cafe named Samovar. I had a very pleasant time there, enjoying good food and nice Indian music for company. Jehangir Art Gallery is Mumbai's most famous art gallery and is managed by the Bombay Art Society. Interestingly, there are not only curated exhibitions being held inside the gallery but they also allow the outside walkway space for any artists interested to display and sell their works too. The location has become very attractive and encouraging for people to visit.

I sneeked into Sudip Roy's exhibition before the opening of his show that night and the hustle and bustle of arranging as well as managing the paintings on the walls. He personally handles the displays. I did manage to speak with his sons and him, to find out more about his works. This exhibition shows his

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Dilahirkan di dalam masyarakat Lun Bawang yang merupakan salah satu pecahan dari sukukaum Orang Ulu di sarawak , persekitaran dan cara hidup kaum Lun Bawang banyak mempengaruhi

karya-karya Peter. Lalu anak kelahiran Lun Bawang ini menerapkan nilai-nilai budaya

masyarakatnya di dalam pengolahan karya.

Bagi khalayak di Malaysia mungkin nama Peter Lagan tidak begitu dikenali, namun bagi khalayak seni dan rakan-rakan pelukis Peter dikenali sebagai pengkarya seramik yang menerapkan subjek figura di dalam penghasilan karyanya dengan menggunakan kaedah 'tatoo' sebagai kajiannya. Telah banyak mengikuti pameran-pameran di sekitar lembah Kelang antaranya ialah Pameran Seramik Antarabangsa Kontemporari Balai Seni Lukis Negara pada tahun 2007. Beliau juga banyak berpameran di galeri swasta sekitar Lembah Kelang. Beliau juga banyak menyertai pertandingan seni lukis antara yang membawa kejayaan di dalam hidupnya ialah karya ‘Mata Enggang’

telah memenangi Anugerah karyawan muda pada tahun 2003 anjuran Kraftangan Malaysia.

Meneliti karya-karya awal Peter yang bermula dengan siri 'Pottery' dan 'Teapot' tidak lari dari kebiasaan seniman seramik yang lain. Dari tahun ke tahun karyanya berkembang dari siri 'Topeng' ke siri 'Fosil' dan kini beliau

menjadikan figura sebagai subjeknya dan menginspirasikan teknik 'tatoo' kepada karya arca figuranya. Penghasilan karya figura Peter menggunakan manusia sebagai model.

Peter Lagan akan mengadakan pameran solo di Muzium Seni Sarawak pada bulan Ogos 2012.

| HASIMAH NYOK

Kebanyakan arca figuranya memberi penumpuan terhadap riak wajah, tangan, kaki atau separuh badan. Jalinan dan keindahan motif 'tatoo' yang diadaptasikan dari suku kaum di Sarawak diolah mengikut kepakarannya. Peter seperti menemui suatu kepuasan di dalam penghasilan arca figuranya dan siri ini terus dibawa sehingga kini. 'Tatoo' menurut kepercayaan , merupakan suatu simbolik berkaitan pangkat dan kedudukan di dalam masyarakat Orang Ulu. Bagi kaum lelaki 'tatoo' tidak boleh di cacah dengan motif sebarangan kerana ia akan mendatangkan bala kepada sipemakai. Menurut Peter berdasarkan amalan suku kaum di Sarawak, bagi si Pemengal kepala, 'tatoo' yang dibuat ialah sebagai tanda dan bagi menunjukkan dia seorang pahlawan. Bagi seorang perempuan dari suku kaum Orang Ulu pula, proses mencacah 'tatoo' ialah apabila dia mula akil baligh. Proses menyiapkan 'tatoo' ini mengambil masa selama berbulan-bulan. Menurut kepercayaan, 'tatoo' diibaratkan sebagai simbol lampu bagi mereka selepas meninggal dunia kelak.

Peter Lagan, anak kelahiran Sarawak, telah berhijrah ke Kuala Lumpur

bagi meneruskan pendidikan di dalam bidang seni seramik. Mendapat pendidikan seni di dalam bidang seramik di Institut Kraf Negara, beliau telah meneruskan kerjaya di dalam bidang seramik hingga ke hari ini.

Lahir dari keluarga yang menghasilkan manik perhiasan seramik yang untuk tujuan perniagaan di Sarawak , Peter sememangnya telah diberi pendedahan awal di dalam bidang seramik. Bermula dari perniagaan manik perhiasan yang diusahakan oleh ahli keluarganya ini Peter mengorak langkah dan mencipta impian mahu menerokai bidang seramik dengan lebih luas lagi.

Di awal usia 20an Peter pernah bekerja di Jabatan Pengairan dan Saliran di Bahagian Limbang selama 4 tahun, bagi memenuhi tuntutan hidup yang anak lelaki perlu menjana pendapatan sendiri bagi kelangsungan hidup dan berdikari serta sebagai anak muda di kampungnya, dia mahu mendapatkan perkerjaan yang lebih baik daripada hanya sekadar menjadi petani seperti ayah dan datuknya juga kebanyakkan penduduk dikampungnya.

Namun setelah 4 tahun bekerja di situ jiwa dan minda tidak menemui kepuasan yang dicari. Jiwa terasa kosong seperti mahu melakukan sesuatu yang lebih diminati. Lalu Peter mula menerokai bidang seramik dan dengan kemahiran dan bakat semulajadi di dalam dirinya dia membantu ibunya yang mengusahakan manik perhiasan dengan menghasilkan inspirasi lukisan motif –motif baru bagi manik yang diusahakan oleh ibunya.

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Dengan latarbelakang unik dan cara hidup suku kaum Lun Bawang dan identiti Sarawak, karya-karya Peter tidak lari dari subjek mengenai cara hidup dan budaya kaum di sarawak. Gabungan motif dari kaum Iban, Penan dan Orang Ulu telah membuahkan hasil di dalam karya Peter. Menurut Peter, dengan gabungan media seramik dan figura sebagai subjek sememangnya ianya begitu mencabar kemahiran kita untuk mengolah karya. Bukan semua model atau karya yang dihasilkan tersebut berjaya dihasilkan mengikut jadual yang telah disusun untuk sesebuah pameran jika silap sedikit ianya akan retak dan perlu diulang semula. Penghasilan sesebuah karya seramik memerlukan kesabaran dan usaha yang gigih. Bagi Peter, kesempurnaan amat perlu didalam menghasilkan karya. Pernah beliau menghasilkan karya bagi Pertandingan Bakat Muda Sezaman 2010 namun kerana karya tersebut mengalami sedikit kecacatan semasa proses pembakaran, Peter menarik diri kerana baginya ketidaksempurnaan itu akan menjejaskan arca itu nanti.

Sememangnya tanah liat merupakan sebuah media hadiah dari alam yang begitu sempurna, unik dan fleksibel untuk melahirkan expressi idea seni tampak yang mencabar keperluan, yang menuntut kita untuk memahami karekteristiknya yang tersendiri secara teknikal dan sejauh mana kemampuan media tersebut boleh dimanipulasikan dan dieksprimentasi untuk menghasilkan produk atau karya seni yang lebih jitu. Melalui karya Peter kita telah melihat tentang kegigihannya dalam menghasilkan karya dari bahan yang unik ini.

Menghayati karya-karya Peter, ianya seakan berdialog dengan khalayak dan meninggalkan banyak persoalan yang minta jawapan. Reaksi dan ekspressi figura yang dijelmakan melalui arca seramik beliau banyak menggunakan ekspressi mimik wajah yang menuntut penghayat meneka-neka mesej yang mahu

disampaikan oleh artis.

Tahun -tahun kebelakangan ini, peranan Kurator sudah mula untuk

dibicarakan, didiskusikan dan diperdebatkan didalam pameran, didada akhbar mahupun di media elektronik seperti Facebook.

Mengapa ia mula diperkatakan?

Meninjau kebelakang sejarah peranan Kurator sekitar 60 an hingga 90 an, seolah-olah ia wujud dalam keadaan diperlukan demi memeriahkan seni rupa Malaysia. Bolehlah disebutkan disini antara yang sudah pun mengamalkan kerja seorang Kurator ini adalah seperti Syed Ahmad Jamal, Ismail Zain, Redza Piyardasa, Sulaiman Esa, Hasnul Jamal Saidon, J. Anu, Wong Hoy Cheong, Badrul Hisham, Rahimi Harun, Nasir Baharuddin, Zanita Anuar (sekadar menyebut beberapa nama), tetapi di dalam menjalankan kerja Kurator tersebut, mereka-mereka ini juga merupakan perupa/artis Malaysia, pengarah-pengarah di institusi seni rupa, pensyarah-pensyarah universiti mahupun di kolej. Maka sebab itu, penulis merasakan bahawa kewujudan Kurator di Malaysia ini bukan sekadar kerana wujudnya institusi seni rupa seperti Balai Seni Visual Negara tetapi juga adalah atas landasan keperluan agar ada yang menguruskan perihal karya seni rupa Malaysia pada waktu itu.

Apakah yang sebenarnya dikatakan dengan peranan ataupun kerja seorang Kurator?

Asasnya, Kurator pada mana-mana definisinya yang mudah sering diperlihat adalah sebagai orang yang bertanggungjawab terhadap koleksi, memilih karya atau perupa, membangun pameran dan menulis mengenai karya dan pameran. Sekiranya anda mahukan pengistilahan yang sering dituliskan, bolehlah dirujuk pada mana-mana Wikipedia atau Google. Namun begitu, saya juga mungkin boleh meminjam istilah yang telah diberikan oleh kurator-kurator lain seperti contoh; Asal istilah kurator (Curator), dalam kamus bahasa inggeris Oxford University Press, adalah sebentuk kata kerja, iaitu “Curate” yang bererti “menyeleksi,

mengorganisasikan, dan memelihara berbagai barangan (koleksi atau muzium)”, sedangkan bentuk kata bendanya, iaitu “Curator” bererti “pemeliharaan atau penanggungjawab sebuah museum atau bentuk pengoleksian lainnya” (Rizki A Zaelani, Visual Arts 2005:034).

Kini, setelah Seni Rupa Malaysia menyelusuri kurang lebih 80 tahun, peranan Kurator sudah ada yang mula ingin membicarakan tidak kira sama ada ia bertujuan untuk menyedarkan atau mempertikaikan. Namun sebagai pelestarian dari nama-nama pengamal Kurator yang disebut pada awalan penulisan tadi, perlu ada generasi muda yang meneruskan praktik kerja kurator ini agar seni rupa Malaysia terus membangun.

Kursus pengurusan seni yang kini mula dipertaruhkan sebagai sebuah kursus di dalam Univeristi mahupun kolej swasta mungkin bisa membantu pelajar-pelajar/anak muda dalam memahami apakah peranan kurator dan tanggungjawabnya pada perupa dan masyarakat. Namun, kursus atau subjek kuratorial secara khususnya masih dilihat belum ada dan duduk di dalam universiti-universiti ataupun kolej melainkan sekadar dibicarakan didalam seminar kecil ataupun art talk yang dianjurkan oleh pihak galeri swasta seperti Galeri Shalini Ganendra Fine Art (seingat saya) yang kerap membawa kurator dari negara luar ke galerinya untuk membicarakan perihal kerja kuratorial.

Selain Galeri tersebut, House of MATAHATI (HOM) sebuah lagi ruang seni persendirian yang sedang dalam usaha menjana keperluan dan kepentingan ahli-ahli seni rupa melalui bengkel-bengkel seni seperti manager seni, penulis seni, pelukis dan kurator didalam industri seni rupa di Malaysia. Sebagai lanjutan dari kerja kuratorial yang telah dilakukan oleh orang terdahulu, HOM telah mengadakan satu Bengkel Seni yang bertemakan "So You Want To Be Curator" dengan menjemput Kurator independen Indonesia iaitu Hendra Himawan yang kini merupakan Kurator jemputan di Sangkring Art Space, Indonesia. Sebagai fasilitator untuk bengkel seni tersebut, latarbelakang Hendra dilihat bermula

sebagai graduan daripada Institut Seni Indonesia (ISI), Jogjakarta dan memulakan praktik kuratorial

nya sekitar 2009 secara sepenuh masa sebagai Kurator Independen. Bengkel ini merupakah

sebuah bengkel yang bersifat jemputan yang menyenarai pendek para pesertanya dari golongan anak-anak muda yang punya potensi dan yang sedang menjalankan kerja seorang Kurator sama ada dibawah naungan institusi mahupun yang bergerak sendirian.

Bengkel ini yang pada dasarnya ingin dijalankan selama seminggu hanya sekadar dapat diadakan selama 2 hari iaitu pada 18 dan 19 Februari 2012, atas faktor kekangan masa. Sebagai orang yang pernah menjalankan kerja-kerja Kurator, saya juga telah dijemput oleh pihak HOM untuk sama-sama menyertai bengkel ini untuk melihat dan mempelajari sesuatu yang mungkin saya tidak tahu dari seorang Kurator muda Indonesia ini.

Hari pertama ketika salam suai kenal, Hendra bertanyakan kepada para peserta yang terdiri daripada Pensyarah, Pengurus Galeri, Pemilik Galeri, Kurator dan Penolong Kurator Balai Seni Visual Negara(BSVN) serta pelajar-pelajar berkaitan tujuan dan keinginan para peserta dalam bengkel yang diadakan ini. Kebanyakan peserta yang hadir menyatakan pandangan bahawa tujuan mereka

hadir ke bengkel tersebut adalah keinginan untuk mengetahui peranan kurator dan bagaimana caranya menjalankan kerja/tugas sebagai seorang Kurator.

Sebagai langkah pertama, Hendra mempertanyakan kembali kepada para peserta berkaitan apakah kepentingannya sesebuah pameran/event itu diadakan atau diselenggarakan. Pelbagai

respon diberikan oleh para peserta, namun menurut bicara Hendra, kepentingan sesebuah usaha menyelenggarakan pameran adalah sangat penting kepada 1), Perupa/Artis itu sendiri iaitu apabila Kurator bertanggungjawab dokumentasi, menyelidiki, memahami dan menginterpretasikan karya seseorang perupa, 2) Penyelenggara/ Art Space, bilamana seorang Kurator bertanggungjawab terhadap menyelenggara ruang pameran yang akan diusahakan sekaligus ia juga bertanggungjawab menjaga nama baik galeri yang diusahakan, dan 3) khalayak/ pengunjung/ pemerhati pameran, iaitu bertanggungjawab terhadap khalayak pameran kerana disinilah sesuatu usaha mengadakan pameran itu berguna dan baik sekiranya seorang Kurator itu memahami konsep asas gagasan yang ingin dibawakan dan dikongsikan dengan khalyak yang datang melihat karya seni rupa dalam pameran. Ketiga-tiga perkara ini adalah sangat mustahak dan ditekankan oleh Hendra dalam penyelengaraan sesebuah pameran oleh seseorang Kurator dan merupakan tugas dan tanggungjawab yang harus dipikul oleh seorang Kurator.

1 Hendra Himawan, 2012, So You Want To Be A Young Curator, A Two Day Curatorial Workshop, House of MATAHATI ( HOM), Malaysia.Rizki A Zaelani, 2005, HIPOTESIS KURATOR [-IAL], Majalah Seni Rupa Visual Arts #10, Disember 2005/Januari 2006

ERRY ARHAM AZMI MERUPAKAN BEKAS KURATOR DI BALAI SENI VISUAL NEGARA DAN KINI MERUPAKAN PENSYARAH DI FAKULTI SENI HALUS AKADEMI SENI BUDAYA DAN WARISAN KEBANGSAAN. KETERLIBATAN BELIAU DIDALAM SENI RUPA MALAYSIA DAPAT DILIHAT MELALUI KERJA-KERJA KURATORIAL, PENULISAN SENI, BICARA SENI DAN BIDANG AKADEMIK

| ERRY ARHAM AZMI

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Setelah itu, Hendra meneruskannya dengan memberi pertanyaan sekali lagi kepada para peserta berkaitan apakah yang dimaksudkan dengan kurator. Apakah Kurator itu penulis?, apakah Kurator itu perancang pembuatan show?, dan apakah Kurator itu sekadar membuat kerja-kerja teknikal dalam sesebuah pameran?. Sekali lagi para peserta melontarkan jawapan mengikut pandangan masing-masing, namun bagi Hendra ketiga-tiga persoalan yang diutarakannya ini merupakan kerja-kerja yang acap kali dilakukan oleh seseorang Kurator, dan tanpa salah-satunya, mungkin gugurlah tanda nama bagi mereka yang ingin memakai gelaran Kurator. Hendra juga menawarkan satu kaedah (metode) khusus dalam menjalankan tanggungjawab sebagai seorang Kurator iaitu dengan menggunakan kaedah ‘Curator as Ethnographer’ sebagai sebuah model kerja kurasi. Menurut Hendra (2012: 30), Etnografi adalah sebuah tulisan atau laporan mengenai satu suku bangsa tertentu yang dituliskan oleh seorang antropologi atau hasil penelitian lapangan (field work) selama kurun waktu tertentu yang ditetapkan. Metode tersebut lazimnya dijumpai dalam bidang ilmu antropologi. Tambah Hendra lagi, metode ini juga bisa diterapkan pada bidang seni, khususnya pada praktik kuratorial. Sebagaimana yang sudah diketahui, kurator sering diposisikan sebagai pihak kedua yang memediasi seniman dan audien. Di sini, Kurator juga dapat diibaratkan sebagai etnografer yang sedang melakukan kerja-kerja etnografi atas karya-karya seniman.

Setelah selesai pewacanaan berkaitan apakah Kurator itu dan unjuran kaedah Kurator sebagai Ethnographer pada hari pertama bengkel, pada hari ke-2 bengkel ini diteruskan dengan kerja-kerja simulasi pameran dan para perserta dibahagikan kepada beberapa kumpulan yang mana setiap kumpulan memperolehi enam atau lima ahli. Perkara pertama, peserta diminta berbincang dengan ahli kumpulan masing-masing dan membincangkan konsep idea pameran yang ingin dilaksanakan sehingga terjadinya sebuah cadangan proposal pameran. Setelah usaha konsep idea itu selesai, kumpulan-kumpulan tersebut haruslah memikirkan konsep pembuatan pameran (show) yang mana mengandungi karya yang ingin dipamerkan, teks pengenalan di dinding pameran, caption karya, susun atur karya, pandu arah laluan untuk para khalayak yang datang mengunjungi pameran dan sebagainya dengan mendirikan model pameran pada permulaannya sebelum ia di realisasikan.

Selesai pada pembinaan konsep pameran itu, para peserta di minta untuk membentangkan dan mempersembahkan hasil kerja berkumpulan mereka. Di sini juga para peserta lain di minta untuk bertanyakan tentang konsep pameran peserta yang membentang, dan di sini juga di lihat wacana berkaitan mendirikan pameran sudah mula berjalan apabila sesi soal jawab diantara peserta telah mewujudkan satu pendekatan mempertahankan konsep pameran agar ia bermakna dan mempunyai halatuju yang jelas. Cabaran diperingkat ini dilihat mempunyai kesan yang mendalam kepada para peserta kerana disinilah mereka harus memikirkan secara rasional pameran yang mereka ingin dirikan dengan ilmu-ilmu yang mereka fahami dan bisa di hujahkan kepada peserta lainnya.

Proses evaluasi dilakukan oleh Hendra setelah kesemua para peserta membentangkan hasil kerja mereka. Didalam proses Evaluasi ini, Hendra menekankan pada apa yang ada dan telah dilakukan oleh para peserta secara baiknya dan menambah kekurang terhadap apa yang kurang didalam pembentangan sesebuah pameran yang ingin dilakukan oleh kumpulan-kumpulan peserta. Pada akhir sesi sebelum penutupan bengkel ini, hendra meninggalkan pesanannya buat dirinya dan juga peserta, katanya;-

"JANGAN MENGANGGAP REMEH PADA SETIAP HASIL KARYA YANG DIHASILKAN OLEH SESEORANG PERUPA" dan "JANGAN MENGANGGAP REMEH PADA SETIAP PAMERAN SENI RUPA YANG DIHASILAN"...kerana kita tidak tahu apa yang akan jadi pada masa akan datang...

Bengkel Seni Kurator yang dijalankan selama 2 hari telah meninggalkan kesan dengan minda yang terbuka terhadap apa yang dimaksudkan dengan Kurator dan tanggungjawabnya. Semoga bengkel ini menjadi asas kepada pelestarian kerja kuratorial untuk anak-anak muda yang mahu menyemarakkan seni rupa Malaysia sejajar dengan perkembangan ilmu pengetahuan.

Kini, sudah tiba masanya giliran Kurator muda berperanan dalam Seni Rupa Malaysia!

An exhibition gathering 12 representatives of Malaysian Contemporary artists entitled

“Malaysian International Contemporary Art Exhibition 2012” opened its door to the Malaysian public from 12th to 27th May 2012 at Wisma Kebudayaan SGM, No. 243 Jalan Bukit Bintang, 55100 Kuala Lumpur. The exhibition is organised by Soka Gakkai Malaysia, Malaysian Modern & Contemporary Art Academy and Association of Artists, Klang and was officiated by Yang Berbahagia Ambassador Dato’ mohd Yusof Ahmad, Director-General, National Visual Arts Gallery Malaysia on 12 May 2012 (Saturday) at 3.00pm.

Mr Koh Sia feai, General Director, Soka Gakkai Malaysia in his welcoming remarks emphasized that art and culture exchange providing valuable opportunities to learn from each other, establishing true friendship and promoting understanding and co-operation among the participants. He quoted SGI President Mr Daisaku Ikeda’s saying, “There is nothing more powerful than a culture that is deeply rooted in its people. Cultural exchange bridges people together, it is a grand rainbow of peace… cultural exchanges are the friendly waves that connect people.”

Dr. foo Yong Kong, President of Malaysian Contemporary Chinese Painting & Calligraphy Association, in his speech stated that the artworks in this exhibition are significant as they represent Malaysia, as a contemporary country with abundant tradition, culture and identity. He also encouraged young Malaysian artists to challenge themselves and bring Malaysian contemporary art scene to the next level.

Yang Berbahagia Ambassador Dato’ Mohd Yusof Ahmad, Director-General, National Visual Arts Gallery Malaysia, in his opening speech complimented the twelve participating artists’ artistry achievement and contribution to the history and development of Malaysia’s modern art. Many of their works are represented in the National Visual Art Gallery’s permanent collection. He also acknowledged the artists’ contribution through SGM’s platform in promoting awareness and appreciation of Malaysian visual art.

The “Malaysian International Contemporary Art Exhibition 2012” is initiated by Richard Wong, the President of Malaysian Modern & Contemporary Art Academy, with the purpose of promoting Malaysian contemporary art by drawing attention to its unique diversity while being respectful of individual styles. The exhibition serves as a means to contribute to the development of Malaysian contemporary art and the promotion of international exchanges. Participating renowned artists include Dato’ Tay Mo-Leong, Dr foo Yong Kong, Sia Boon Chuan, Tan Tong, Yap Hong Ngee, Loo Foh Sang, Chew Fang Chin, Chong Buck Tee, Ng Bee, Goh Ah Ang, Richard Wong and Awang Damit Ahmad. The exhibition showcases artworks resulting from their new discoveries and insights since the past years.

For more information about exhibitions and art related activities, please contact SGM Public Relations Department at Tel. No: 03-2144 8686 / 03-9075 6876, email: sgmpro@sgm.org.my or refer to SGM official website www.sgm.org.my.

EAGER buying saw the Henry Butcher Malaysian Art Auction 2012 turned into a record fest that is however mildly puzzling in the midst of the celebratory whoop.

That the auction sales hogged RM4,007,300 with all save one of the 86 works sold, is phenomenal. The 2011 turnover was RM3,173,710 on the back of 98 works sold from a 104-work largesse.

While there were phone bidders (who did not really measure up to expectations) and proxy buying, the buying frenzy for art could have been fuelled by record prices of art in world markets. Also, with a protracted volatile financial blight especially with the eurozone, savvy investors were looking at alternative investments to park their money.

This third time around, certainly many more newplayers have come into the market with a ‘buy-buy’ fixation. There is no doubt that the Henry Butcher auction has greatly transformed the secondary market of Malaysian art where some works bought at the auction were resold for quick profits.

New auction records were set in 20 works of artists in the 2012 edition, while the 16 “newcomers” mostly did reasonably well.

There was a hush when Huang Yao (WongYao), arguably the greatest Malaysian artist (calligrapher/cartoonist) working in Chinese brush painting although he is not so recognised by his own country, made a quantum leap from the laughable RM3K-RM5K and RM6K-RM8K estimates for two of his works. The bidding started at RM20K and RM60K respectively, and ended at RM39,600 and RM79,200.

Already very famous in China, Huang Yao was lured to Malaysia by former prime minister Tun Abdul Razak, then education minister, to help lay the foundation of Chinese language education in the country.

As his foundation is based in Singapore, interest across

the causeway is high, and his circle would widen when the

big-time China buyers plumb for him at the Hong Kong auction in

late May.

Of the newcomers, watercolourist Shafie Hassan’s 'Cuti Sekolah' made a staggering closing price of RM22,000 from a RM4K-RM6K estimate.

It’s a great debut for photography when Ismail Hashim’s iconic 'Kedai Gunting',

a hand-tinted silver gelatin print, sold for RM24,200.

Printmaker Juhari muhammad Said’s 'Katak Nak Jadi Lembu' (17/20) closed well at RM12,100; Eng Tay scored RM60,500 for a 75cm x 100cm oil on canvascalled 'Day End'; Yau Bee Ling raked in RM6,600and RM20,900 for her two differently sized works; Yeoh Kean Thai’s 'Wrenching' rusty concoction made RM17,600.

All the works were put up by collectors.

Patrick Ng Kah Onn, revered for his 'Spirit ofWater, Wind and Air' (1958) masterpiece in the National Visual Art Gallery collection, chalked up

RM33,000 for a rare mixed media 'Collage in Blue'.Umibaizurah mahir@Ismail raised RM6,050 for her quirky ceramic plaything showcase while her husband, Ahmad Shukri mohamed’s 'Insects Wallpaper' mixed media registered RM18,700.

So, in a way, it was a rewarding day for the various other media-prints, photography and ceramics.

Of the newcomers, Sarawak maestro Raphael Scott Ahbeng did reasonably well with RM14,300 for a 1995 abstract on the old Saas landscape in Sarawak, Ivan Lam only managed RM17,600-just RM400 short of his high estimate for his 911 work, while the late Neo-Popartist Kok Yew Puah mustered only RM17,600 forhis 'Kelantanese Boats'.

Whoever snapped up Dato Tay Hooi Keat’s watercolour 'Penang Hill' (1973) at RM11,000 got a bargain for the artist’s works are not many in the open market and it is a well done work exuding a mellowed apple-green freshness.

In the Chinese art section, Cheng Haw Chien made a spirited debut with a RM34,100 tag for his scroll, 'Scene Along Zambezi River', but Chung Chen Sun, who is known to have commanded higher prices, had thedubious distinction of being the only artist with a work not sold in the entire auction. His other entry on pumpkin braked at RM7,700 after a RM6K opening bid.

While the price trend may appear a bit erraticin the larger pool of auctioned works, it is not so with those of the 'Big Five'-all dead except poet-artist-

www.hbart .com.my

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sculptor Abdul Latiff mohidin. The four dead titansare Datuk Ibrahim Hussein, Dato Hoessein Enas, Dato Chuah Thean Teng and Datuk Syed Ahmad Jamal.Ib, as Ibrahim is better known, set a new auction record of RM797,500 for his shaped canvas, 'Red, Orange And Core' (1984), a large 198.3cm x 271.4cm acrylic on canvas with his signature ribbed lines andcopulating forms. It eclipsed the RM572,000 paid for Latiff’s Pago-Pago, the top-selling item last year.

While a few may have valued their paintings at RM1million each, only Ib had breachedthat mark, although another artist had done so for his monumental bronzed sculpture.Latiff’s highest fetched price this time around was RM231,000, for an unusual psychedelic 'Mindscape' (1983) well above its high RM180K estimate, and he set a stunning record for a print when his 'Mindscape'(1976 )etching (artist-proof) knocked down for a premium RM50,600.

Ib was certainly back with a vengeance, after one of his works failed to sell at the auction proper last year. His other work in the 2012 auction, 'Monorobos I',chased up to RM396,000.

Portrait pioneer Hoessein’s oil of his then pubescent granddaughters sold for an impressive RM104,500 although expectedly below his personal record of RM198,000 for Morning Mist last year.

Teng, as Chuah the batik art pioneer is better known, is still a darling with bidders with three works including an ink and colour on paper sold above the highestimates. His 'Durian Sellers' rallied from a RM90K start to notch RM137,500, which is however short of his RM170.500 for 'Feeding Durian' last year.

Syed Ahmad’s nocturnal fugue, 'Malam Marang',garnered RM170,500 but still below his record RM187,000 for the 'Cherryvale Gunung Ledang' last year.

1 . UmIBAIZURAH mAHIR@ISmAIL Untouchable VII, 2009,

Handpainted tin sculpture mounted on woodblock

36 x 44.5 x 14 cm | 2 . ISmAIL HASHIm Kedai Gunting, 1986

Hand-tinted gelatin silver print, 49 x 47cm | 3 . CHONG SIEW YING Isle of Gold, 2008, Oil on linen, 65.4 x 200.3 cm |4 . ABDUL LATIFF MOHIDIN Mindscape, 1983, Oil on canvas 92 x 92 cm | 5 . HUANG YAO Bridesmaid 伴娘, 1980, Ink and colour on rice paper

mounted on scroll, 73.2 x 47.6 cm | 6 . IBRAHIM HUSSEIN, DATUK

Red, Orange and Core, 1984, Acrylic on canvas, 198.3 x 271.4 cm

| 7 . DZULKIFLI BUYONG Tidurlah Anakku, 1967, Pastel on paper,

74.5 x 53.5 cm | 8 . MOHD HOESSEIN ENAS, DATO' Two Sisters,

1986, Oil on canvas, 76 x 60 cm | 9 . SYED AHMAD JAMAL, DATUK Malam Marang, 2001, Oil on canvas, 91 x 122 cm

In contrasting fortunes of the pioneers, Abdullah Ariff fetched RM23,100 and RM31,900 for two small works (28cm x 20.7cm) while Yong mun Sen raised onlyRM18,700 for his 'Batu Ferringhi' watercolour which is more than double the size of Abdullah’s works.

Khaw Sia set a new personal record of RM22,000 for his 'Red Cattleya' (1975) though my favourite Khaw Sia was 'Still Life With Lobster', which is a good-buy at only RM9,350.

Kuo Ju-ping, who did not sell in the first auction and skipped the second, finally got among the scoresheet with RM9,900 for his 'City Life' (1962) oil.

US-based Khoo Sui Hoe, a veteran professional artist, notched a new record of RM30,800 for his work, 'Two Flying'. Yusof Ghani finally set the record prize deserving of his stature when RM93,500 was plonkedon his large 'Siri Tari VII' (1984), measuring 162.8cm x 236.5cm.

Matahati-an Hamir Soib@mohamed also saw a new record with RM24,200 paid for his mixed media, 'The Burning Bush', as did Jalaini Abu Hassan, with RM28,600 for his 'Stretched Form' (1993) and Ahmad Zakii Anwar with RM99,000 for his 'Blue Kebyar'.

Khalil Ibrahim set a new record for his 'Fishermen'acrylic on canvas topping RM71,500, breaking the RM57,800 record set last year for his circa 1960-65 abstract acrylic on canvas, 'Destruction'. AhmadKhalid Yusof also set a new record of RM44,000for his 'Hikayat Seribu Satu Malam' acrylic.

Nanyang School standard-bearer Tew Nai Tong and Jolly Koh also set new records of RM16,500 and RM38,500 for their works, 'Drying Fish' and 'Untitled',respectively. The huge popularity of the eccentric mock-Naïve artist Dzulkifli Buyong saw his 'Tidurlah Anakku' go for RM93,500 for a new record for the artist.

‘Apple King’ Lim Kim Hai did not fare toowell with his 'No War' going for only RM14,300, while Peter Liew and Tan Choon Ghee had a surprising so-so outing, with their works either rangebound in prices or sold below expectations.

The younger set also made great headway interms of prices for their works. Chong Siew Ying’s 'Isle of Gold' (2008) of a classic reclining nude in a mock Chinese-painting landscape hit RM44,000 from its RM22,000 starting gong, while Lui Cheng Thak’s 'Dances of the Phoenix' wrapped up at a creditable RM28,600.

Both Singaporean artists, Cheong Soo Pieng and Chen Wen Hsi, registered new records of RM52,800 and RM48,400 for their respective works.

Events such as the Henry Butcher Art Auction and the Art Expo Malaysia have greatly helped enhance the software infrastructure and exposures for Malaysianart and artists and raised their international profile.

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hormat serta bertimbang rasa dalam menghadapi masyarakat seni. Disinilah kita dapat melihat bagaimana kajian dalam memahami masa dan ruang amat penting. Tanggungjawab oleh pembuat karya dalam jangkaan tindakbalas dari penonton haruslah di ambil berat dan sejauh mana karya itu akan memberi impak dalam masa terdekat ataupun jangkamasa yang panjang.

Persoalan yang selalu diajukan adalah bagaimana medium dalam seni pertunjukkan( performance art) ini ingin di ambil sebagai sebahagian nilai (value) karya seni ? Contohnya penonton boleh mengingati warna–warna ekspresi pada kanvas tetapi untuk karya seni apakah idea dan isu itu datang dahulu ataupun aksi yang terjadi pada ketika itu?

Disini ingin saya berkongsi serba sedikit tentang Aida Redza. Salah seorang pengkarya seni yang dilihat dalam medium yang berbeza dalam konteks seni visual yang luas. Walaupun latar belakang disiplin tarinya adalah formal, dari tarian moden dan tradisional, melihat gerak tubuhnya di setiap persembahan ada reaksi dan sentuhan tersendiri dan kadangkala berlaku secara spontan, menggunakan bahan dan prop yang memberi tanda (sign) tertentu, mimik muka dan suara yang bertindakbalas pada ruang itu sendiri.

Dan ianya penuh dengan emosi dan suara tubuh itu sendiri!

Penglibatan hampir 15 tahun ini digunakan oleh Aida sebaik mungkin untuk berkarya secara solo, berkumpulan mahupun menjalankan aktiviti bengkel dengan komuniti dan masyarakat. Kelebihan memahami gerak tubuh melalui tarian mungkin menjadi satu kelebihan buat beliau dan menurut Aida juga beliau percaya struktur biologikal seseorang memainkan peranan dan mempengaruhi setiap ekspresi yang cuba disampaikan. Serta menjadi seorang ibu kepada 2 orang anak, dan refleksi kehidupan sebenar banyak menjadi inspirasi kepada Aida Redza.

Selain daripada itu juga Aida Redza meletakkan medium seni pertunjukan yang mana tubuh adalah suara yang selalu dilontarkan dalam bertindakbalas memberi pendapat dan harapan. Antara karya solo seni pertunjukkan beliau yang bertindak balas kepada situasi dan kritikan sosial adalah “Jadi-an Solo In Vision 2020 ” pada 2007 di Copenhagen, Denmark, “ Sculpturer “ pada 2005 di Rotterdam Dance Art Academy, 'Feast Of Fool' pada 2004 di Denmark, “Stirrings” pada 2002 di Performing Studio, Pulau Pinang.

‘Seni dan masyarakat berpunca dari kaitan manusia dan alam sekitarnya.

Manusia dapat mengenali diri melalui karya-karya seni dengan menghidupkan getaran dalam sanubarinya.'

Petikan dari katalog ‘Pameran Balai Seni Lukis Negara’

Datuk Syed Ahmad Jamal

Ketua Pengarah, 1988.

Dari petikan di atas, kepelbagaian medium untuk menyuarakan pendapat dan ekspresi seni memperlihatkan perbezaan rasa percaya dalam cara penyampaian masing-masing. Walaupun ianya adalah kepada satu tujuan yang sama, iaitu memberi dan menyampaikan sesuatu yang ingin dikongsi, bertindak balas kepada ruang sekeliling ataupun ianya adalah bertujuan dengan agenda-agenda tertentu.

Cara berekspresi dalam seni dengan menggunakan medium atau bahan yang diperlihatkan secara langsung (live) contohnya sebahagian tubuh, suara dan ekspresi telah banyak digunakan pakai di kalangan pengkarya seni sejak dari dahulu lagi.

Penyaluran idea secara terus dari pengkarya kepada penonton kadang-kadang memberi cabaran, bantahan dan perbezaan pendapat melalui dialog yang sebegini. Ini adalah mungkin kerana komunikasi secara terus ini adalah perkara yang paling hampir dan mempunyai kefahaman juga intepertasi dari pelbagai sudut yang berbeza dalam kehidupan. Contohnya pendapat pengkaryaan yang disalah takfirkan dan dimanipulasi dari sudut kepercayaan dan agama, ataupun sensitiviti kaum, politik dan juga sudut psikologi itu sendiri. Malah dari perkara-perkara sebegini, ianya tidak boleh dijadikan alasan untuk pengkarya seni pertunjukan untuk taboo dan menolak rasa

Aida Redza percaya seni itu harus berhubung dan bagaimana medium seni pertunjukkan ini dapat berfungsi dalam memberi dan menerima informasi.

Antara projek bersifat kemasyarakatan yang beliau telah hasilkan adalah 'River Art Project'

(2011). Untuk seni pertunjukkan ini, Aida Redza telah bekerjasama dengan

beberapa pengkarya visual yang lain seperti Lisa foo dan Hilyati Ramli

dalam menjayakannya. Karya-karya Lisa Foo yang menggunakan bahan buangan plastik dalam susunan seni instalasi di sekitar sungai Melaka bertindak balas dengan seni pertunjukkan Aida Redza dan Hilyati Ramli dalam persepsi hubungan manusia dengan alam. Selain daripada itu juga, kolaborasi seni pertunjukkan bersama pengkarya yang lain dalam seni pertunjukkan “Stamp over” bersama Amir Zanorin

memperlihatkan bagaimana dua perkarya membawa satu

mesej yang sama iaitu tentang isu dan cabaran kumpulan migrasi

dalam menyesuaikan diri melalui budaya baru, struktur sosial dan nilai-

nilai kehidupan. Seni pertunjukkan yang memakan masa berdurasi panjang ini

melibatkan orang sekeliling dan ruang yang di pilih adalah di hadapan pejabat Imegresen di

Copenhagen, Denmark. Melalui seni pertunjukan ini pengkarya jelas membawa isu dan memilih ruang yang mana informasi dan mesej tepat disampaikan dalam berhubungan dengan penonton yang tepat dalam memahami dan bertindak balas idea dari pengkarya.

Dalam persoalan keupayaan seniman yang menggunakan medium seni pertunjukan, ini adalah antara cabaran yang perlu di tangani dalam menghasilkan karya. Hubungan karya , pengkarya dan sekitarnya adalah memainkan peranan karya yang disampaikan. Jangkaan tindakbalas sebelum,sewaktu dan selepas aksi seni pertunjukan juga perlu diambil kira dalam melihat sejauh mana pemikiran kritis dapat di kongsi dengan penonton dan masyarakat.

Saya melihat kepelbagaian dan menyokong kebebasan melontarkan pandangan yang bersifat positif ini sebagai satu inisiatif sistem demokrasi yang kita cuba dipraktikkan dalam membentuk sebuah negara yang menuju kearah pertumbuhan kebudayaan dan tamadun manusia. Antara kita sedar ataupun tidak, pemikiran manusia dan praktiknya yang bersifat organik dan sentiasa tumbuh dalam pembaharuan dan ianya memerlukan ruang dan sekeliling yang dapat menyokong pertumbuhan pemikiran dan daya praktik ini supaya ianya dapat memberi kesan yang sempurna pada masa yang akan datang.Tabik kepada rakan-rakan seni pertunjukan yang lain juga, ekspresi tubuh kalian tanpa ada nilai yang boleh dipegang tapi akan diingat di kepala sampai mati!

| INTAN RAFIZA

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Another highlight for the visual arts, ResCube is a rites de passage statement by six young artists marking the arrival of a new generation into the art scene of Malaysia. Five artists are Malaysian nationals and one is Lithuanian. The experience of working and living in Penang brought them close together in creating a special network of friendship, allowing all six artists to share their experiences and enrich each others artworks. ResCube is an outcome of this special relationship between the artists and George Town, the city that inspires.

ResCube is a site-specific exhibition by young and up-coming artists staged in a breath-taking and mysterious historic warehouse in Beach Street, George Town. ResCube concept is based on the structure of a cube.

One entity-six sides. One cube-six different walls.

ResCube will showcase different takes on George Town produced by 6 artists. Visitors will enjoy an exclusive experience created by artists especially for this occasion constructing their visions, interpretations and thoughts in a heritage warehouse.

Exhibition ‘mapping an Identity’ by David Cheah (Sydney) will launch a unique Penang and George Town floral motifs, which are batik and map inspired. Artworks will be painted on natural hand-woven fibers like banana and pineapple as well as using some natural dyes and batik. The Head of Batik Dept., Universitas Pekalongan and former director of Pekalongan Batik Museum, Zahir Widadi, will give a talk (and brief workshop) about the uniqueness of Pekalongan batik and his efforts in putting the proposal for Indonesia’s Batik listing as a UNESCO Intangible Cultural Heritage.

The George Town Festival (GTF) is a month long celebration

of art, music, theatre, dance, opera and film that transforms George Town into a unique platform for arts, heritage and culture. GTF 2012 runs for the third consecutive year and is organized to commemorate the inscription of George Town on the UNESCO World Heritage Listing in July 2008.

The festival will showcase a well-balanced blend of local culture and international acts, which is aimed at rejuvenating Penang as an international boutique destination of arts and culture.

The festival proudly presents the highlights for visual arts. 2012 art program is focused on refreshing Penang art scene and bringing fresh and cutting-edge art projects in order to attract public interest and encourage local artists to expand their horizons.

George Town Festival strives to place George Town back on the international map as an arts and culture destination. mirrors George Town by international artist Ernest Zacharevic is a pioneering art project. It will become a valuable asset for the whole community promoting Penang on the international circuit. The project is a series of large scale wall paintings placed within the heritage zone of George Town, Penang. The paintings depict figure drawings and portraits of various inhabitants of the city celebrating the multiculturalism and diversity of George Town.

The idea is to use George Town as a canvas and turn its streets into an open air, free gallery where the best way to experience art would be to take a walk and enjoy the heritage landscape together with the site-specific paintings. Mirrors George Town seeks to draw attention that it is not only the unique buildings that make George Town a UNESCO heritage site, but also the people who live in here, who work, who eat their daily bowl of Laksa, who celebrate weddings and bear their children, these inhabitants of the city makes it truly a Living City of Heritage. In order to highlight this unique relationship between the people and the city-portraits will be painted onto the walls of George Town to be seen and enjoyed by everyone.

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INTRODUCTION

Amron Omar is an artist who has been immersing

himself in the world of Malaysian art for more than

30 years. He has created many visually outstanding

paintings, drawings and sketches. The presentation

of visual elements in his works is exceptionally

developed and masterly/masterful. As to technical

side, his works have achieved an advanced

level of art-making. This in brief is attributable to

his having remarkably acute and well-disciplined

sensibility, observation and insight in composing his

works. Additionally, he controls the medium and the

technique he uses with consummate skill,

maturity and sensitivity. Amron Omar’s works, largely inspired by ideas rooted in Malay cultures and traditions, particularly the art of self-defence, triggered a situation and sensation that can elevate the sense of identity among their Malay-Muslim observers. Moreover, they intrinsically represent the cultural traits deeply ingrained in the life of the Malays. Despite still carrying the characteristics of Western art form (Though the forms are created within a western framework/structure), his works also generally include subtle local (Eastern) dimensions and features. He expertly and amazingly/wonderfully creates a harmonious fusion between Eastern and Western values.

“Here, I would like to briefly touch on aspects of composition, structure, form, space, tone and colour applied by Amron that I find very alluring and so amazing. In general, Amron uses a 45- degree viewpoint from above that enables him to form a shallow space without a horizon. This creates a sense of intimacy between the audience and the work. Upon looking at the work, the audience immediately confront the two silat fighters. Since the perspective space is so narrow, during the course of their viewing the audience have to make a 360-degree rotation around the two figures fighting within a tight and constricted area. Moreover due to its narrowness, the space renders dynamism to the figures’ movements, leading the audience to concentrate fully on the work -our eyes and visions are prevented from wandering away from the two figures. Such a compositional strategy, which involves the placement of both fighting figures in a narrow and shallow space, raises among the audience an overwhelming sensation of aesthetical amazement”

Pakhruddin Sulaiman

‘Amron’s tonal expression and grit of determination in search for a path of totality in ‘self’ is very highly visible from his ‘Pertarungan’ (“Dueling”) series. This is an exhibition that is a reflection of Amron’s self. It is a self-duelling that poses and seeks questions and answers through a lengthy process. Sometimes the answers are translated into the artwork while others are conceived from Amron’s journey of the self.’

Alizam HassanCurator of ‘Pertarungan : Amron Omar’

‘Pertarungan’, (1980) oil on canvas, 182 x 164 cm, Collection of the National Art Gallery

‘Pertarungan’, (2002) Charcoal on paper,

54 x 37 cm, Collection of Pakhruddin &

Fatimah Sulaiman

‘Pertarungan’, (1983) Oil on canvas,

214 cm x 168 cm, Collection of The Raintree

Club of Kuala Lumpur

'Pertarungan', (1989) Oil on canvas,152 x 137 cm, Collection of

Razak Abdullahpg/18

“Art-making is a battle. Its principal enemies are the mind and the thought we normally define as ‘I’. It is this illusion of ‘I-ness’ that separates human beings, specially those who like to proclaim themselves as ‘artists’(like the author of this essay). It serves as a dwelling for the ego. Within the ego resides dark energy. All types of mental illness or toxics resulting from arrogance, pride, conceit, envy, hate, anger and lust supply food for the ego. Dark energy veils spiritual light, making the body earthbound. If these food are reduced by embracing honesty, the ego will become slimmer. A slimmer ego (I) is covered by a thin veil, its body becomes lighter, and its spirit is no longer trapped. If one managed to tear the veil, a path would perhaps be opened for him to unveil deeper secrets or to climb higher plateaus. God willing, we will be guided to know ourselves and be reunited with our true essence.’

‘I pray that whoever will be and has been affected by Amron Omar’s ‘battle’ shall be eventually guided to enter into the arena of a much more challenging and fiercer inner battle within himself. This battle must be won with sincere and unconditional Love.' “When the battle of discourse is over, and I am left alone with Amron Omar’s works, I can hear a soft whisper,“Have you really adequately known the greatest enemy?”

Hasnul J Saidon

‘Indeed, Amron is deeply misunderstood. Like the oil paints he uses, the figure is just his chosen medium and his true subject isabstract-the containment and release of energy and spirit. Indeed, the physical subject is only a point of departure. The true subject,addressed via representations of light and shade, of mass and weight and of tension and release is not the physical body but something of a much more spiritual or metaphysical orientation.’

Niranjan RajahCurator of ‘Bara Hati, Bahang Jiwa’

‘Amron’s tonal expression and grit of determination in search for a path of totality in ‘self’ is very highly visible from his ‘Pertarungan’ (“Dueling”) series. This is an exhibition that is a reflection of Amron’s self. It is a self-duelling that poses and seeks questions and answers through a lengthy process. Sometimes the answers are translated into the artwork while others are conceived from Amron’s journey of the self.’

Alizam HassanCurator of ‘Pertarungan : Amron Omar’

'Pertarungan', (2007) Oil Pastel on paper,

74 x 54 cm, Collection of Bingley Iskandar &

Ima Norbinsha

‘Pertarungan’, (1989) Acrylic on paper,

27 x 27 cm, Collection of Dato' Sri Haji

Mohd Kamil Jamil

mELIHAT

Galian dan penyelidikan terhadap objek seni adalah aspek penting yang boleh kita amalkan. Penyiasatan dan pengkajian ke atas koleksi objek seni adalah aspek menarik dan penting dalam amalan institusi seni. Pemikiran dalam kajian budaya kebendaan dapat dimanfaatkan oleh koleksi penyelidikan dan pengkuratoran. Ini juga, sebaiknya, menimbulkan wacana ilmiah yang dapat membuka satu jambatan untuk perkongsian umum. Objek di sini tidak membawa maksud kebendaan semata, bahkan ianya meliputi kepelbagaian visual epistemologi dari teori politik, semiotik, sosiologi, antropologi dan kajian budaya semestinya. Membaca objek seni bukan satu perkara yang mudah dilakukan. Bahkan, terdapat pelbagai perbincangan mengenainya dilakukan oleh para pemikir. Berger (2008) menyatakan bahawa melihat adalah tindakan pertama sebelum datangnya perkataan. Ianya seperti kanak-kanak melihat dan mengenalpasti sesuatu sebelum ianya bercakap. Namun, perhubungan antara apa yang kita lihat dan kita tahu tidak pernah selesai. Bagaimana apa yang kita lihat menurut Berger selalu bergantung pada keseluruhan andaian yang berkenaan dengan sifat kecantikan, kebenaran, ketamadunan, bentuk, rasa, kelas dan jantina. Beliau juga menafikan bahawa apabila kita melihat, kita bukan hanya melihat tetapi kita membacabahasa imej.

MODEL TAFSIRAN

Selain itu, terdapat satu model yang dibina oleh Lachapelle, murray & Neim (2003) yang dikenali sebagai Model Pemahaman Estetik sebagai Pengalaman Bermaklumat untuk memberi penjelasan proses pemahaman dan penghayatan dalam karya seni dari perspektif pendidikan. Ia mengenal pasti jenis pengetahuan yang terlibat dan ia juga menentukan jenis pembelajaran di setiap peringkat dalam proses yang membawa kepada memahami objek yang estetik. Terdapat dua fasa dalam proses melihat dan memahami karya-karya seni dalam model ini. Fasa pertama ialah pengalaman pembelajaran, penonton menerokai kesenian yang lepas dan merangka formula untuk merumuskan tafsiran asal.. Kemudian melalui proses yang melibatkan teori pembelajaran, tafsiran pertama atau penonton membandingkan kepada badan-badan maklumat luaran ataupun maklumat saintifik. Fasa kedua adalah pembinaan semula pengetahuan mengenai karya-karya seni. Kedua-dua proses ini boleh membantu penonton dalam melanjutkan atau memahami objek seni dan merangsang pertumbuhan dalam kemahiran melihat objek seni. Akhirnya, tafsiran akan membawa kepada komunikasi yang berkesan antara objek seni dan penonton. Seperti yang dijelaskan oleh Youngentob (2009) bahawa tafsiran yang baik perlu mewujudkan hubungan antara penonton dan objek tafsiran. Untuk membina sebuah perhubungan yang baik dan berkesan, sidang diskusi setiap pameran perlu diadakan untuk komunikasi pengetahuan. Sekiranya kita percaya bahawa artifak atau amalan sahaja tidak mencukupi untuk memajukan pengetahuan dan ia bergantung pada konteks tafsiran. Di mana kita juga harus menerima hakikat bahawa objek seni perlu menjadi tesis yang bertulis dalam pada menyediakan artikulasi dan kesahihan. Namun, ianya bukan sesuatu yang semua inginkan bahkan ianya mungkin tidak menarik minat bagi sesetengah pihak. Akan tetapi, setiap yang bernamakan institusi seni perlu memikirkannya setidak-tidaknya satu gagasan untuk ilmu pengetahuan berpaksi.

TAFSIRAN

"Tafsiran adalah satu proses komunikasi, yang direka untuk mendedahkan makna dan hubungan warisan budaya dan alam semula jadi melalui penglibatan dengan objek, artifak, landskap dan tapak". - Tafsiran Kanada (1976). Menurut Veverka (2007) bahawa untuk komunikasi menjadi sebuah tafsiran ia seharusnya mencetuskan provokasi, berkaitan, mendedahkan, mempunyai mesej perpaduan dan menangani keseluruhannya. Tujuan tafsiran adalah untuk provokasi, bukannya arahan. Beliau menambah bahawa tafsiran komunikasi bukan sekadar menyampaikan maklumat, tetapi strategi komunikasi tertentu untuk menterjemahkan sesuatu kepada penonton. Sementara itu, Youngentob (2009) menyatakan bahawa tafsiran adalah satu proses untuk memudahkan ide yang rumit dan berkongsi dengan penonton yang lebih umum. Apabila digunakan dengan berkesan, tafsiran juga boleh meyakinkan dan memberi motivasi kepada orang ramai untuk membuat perubahan dalam pemikiran atau tingkah laku mereka. Dalam beberapa cara, tafsiran boleh bertukar seperti konsep pemasaran. Anda perlu memahami audien atau pengguna anda untuk menjadinya lebih berkesan. Dalam dunia seni,

tafsiran adalah aspek yang sangat penting. Tafsiran adalah satu mekanisma yang boleh

membuat komuniti seni menjadi matang dan mengukuhkan aspek pemikiran.

Mentafsir objek seni memerlukan analisis yang serius sekiranya belum mampu menjadi kritikal dan tidak

sekadar komen deskriptif. mathis (2004) menegaskan bahawa menganalisis karya seni telah

menjadi satu perniagaan besar. Malah, ia adalah jauh lebih besar daripada perniagaan seni itu sendiri.

PERSEPSI

Melihat, membaca bahasa imej adalah persepsi ke atas objek. Melihat ada hubung kaitnya dengan persepsi dan cetusan tafsiran. Persepsi adalah penerimaan deria kita terhadap ransangan persekitaran ataupun permasalahan yang dihadapi. Persepsi boleh dicapai menerusi pancaindera penglihatan, sentuhan, bau dan rasa. Melalui proses persepsi, kita mendapatkan maklumat mengenai sesuatu dan menjadikan ianya sebagai pengalaman persepsi. Persepsi melibatkan proses kognitif untuk memproses maklumat dan menganalisa untuk membuahkan sebuah tafsiran. Di samping itu, persepsi adalah mekanisma yang pertama berlaku sebelum kehadiran tafsiran. Ia adalah di mana kita mempunyai keupayaan untuk

membangunkan apa yang kita tanggapi. Menurut Ramanov (2011) persepsi adalah perasaan, idea, pemikiran, teori dan termasuk pancaindera. Konsep ini adalah 'titik akhir' dan membolehkan kita untuk melihat perbezaannya. Persepsi adalah keupayaan untuk memahami perbezaan. Beliau menambah bahawa persepsi itu tidak seperti keupayaan fizikal, persepsi kita adalah tanpa had dan ia adalah sesuatu yang boleh berubah dan dibangunkan. Walau bagaimanapun, persepsi berbeza dari seorang ke seorang. Ketidaksamaan ini datang dari pemahaman, pengalaman dan pengetahuan yang berbeza. Situasi yang sama, namun persepsi mahupun tanggapan mereka berbeza. Malah, ia boleh mewujudkan makna yang berbeza dalam kerja mereka.

Lee Kian Seng'Of Image, Object, ilusion, Off Series Mechanism ', 1977, 174 x 174 cm

Redza Piyadasa 'Models', 1978, Frame glass, charcoal, paper, acrylic on plywood,152 x 125 cmRedza Piyadasa

'A Matter of Time', 1977,Found Object, Arcylic on plywood99 x 148 x 122 cm

| FAIZWAN MAT

pg/20

“Apa-apa yang Pop dari Minda” mengingati kembali petikan kata-kata Jeri Azhari (Ahmad Azhari Mohd Noor) ketika pameran solo seni instalasi Integriti di BSLN, 2006.

Pemergian beliau telah meninggalkan pahatan namanya di naungan dunia seni lukis moden di Malaysia bernuansakan seni Pop(Pop-Art). Tarikh 19 Julai 2012, genap enam tahun pemergiannya ke alam yang abadi.

Apakah orang yang bernama Ahmad Azhari ini, seorang seniman tulen?

Pertanyaan diatas adalah intuisi Jeri Azhari dalam penulisan beliau untuk ruangan Titik Bengit, Majalah Nusantara c1990-1994, dimana persoalannya bagaimanakah meletakkan ‘sesiapa’ sebagai ikon dalam eksposisi sesuatu bidang, adakah mereka layak atau bagaimana ingin sampai ke tahap tersebut? Julai 1987, Jeri Azhari bertemu dengan Andy Warhol dalam mimpi seninya? Adakah itu merupakan sebuah tanda (sign) dimana Seni Pop datang dari rasukan roh Andy Warhol terus ke jiwanya?

“Sekarang barulah aku mengerti dan faham apa yang di maksudkan oleh Andy Warhol. Biarlah aku simpan sendiri dan akan ku beritahu kepada sesiapa yang ingin tahu. Kerana walaupun senang dan mudah diceritakan, untuk memahaminya begitu sukar kecuali seseorang yang berada di dalam keadaan ini”.

Jeri Azhari

Pengorbanan sebagai seorang pelukis sepenuh masa berdepan dengan kejayaan mahupun kegagalan. Keyakinan dan kepercayaan terhadap diri sendiri memikul pengertian hidup tidak lagi satu perkara yang ideal, terlalu banyak perit peri di tempuhi sebagai seniman. Namun, semangat Seni Pop beliau bukan sekadar mencatan dengan warna terang, meriah, dan mewah malah keseluruhan hidupnya di gaul dengan ke-glamour-an, fesyen dan gaya hidup seperti nahu Seni Pop itu sendiri.

“Mampukah saya mempertahankan idiom ‘Pop-Art’ yang aneh ini di Malaysia atau saya perlu berhijrah ke United States atau ke tempat lain untuk meneruskan urusan ini...” Jeri Azhari

Nyata, bergelumang dengan Seni Pop, bukan satu keghairahan meraikan kehidupan. Ianya bebanan berat kerana membawa nadi seni-nya kepada masyarakat. Sepanjang hayatnya, Jeri Azhari tenang menghadapi pikulan emosi sebagai

seorang seniman Seni Pop.

“Tapi saya berazam walau apa jadi sekalipun. Saya tidak akan

memotong telinga untuk membuktikan ketulenan

hidup saya”. Jeri Azhari

Dalam catatan arkival Jeri Azhari, beliau sangat mengagumi pelukis Vincent Van Gogh dan sudah seperti seorang guru baginya, prinsip hidup, catatan Van Gogh kepada abangnya Theo- memberikan inspirasi kepada Jeri Azhari mengerti interaksi-emosi antara corak hidupnya dengan pelukis great master -tersebut. Ketidak fahaman masyarakat terhadap dirinya umpama satu persamaan antara Jeri dengan hidup Van Gogh.

“if you choose to become a true artist, you might face

problems to hanging there and suffer for being ahead of time”.

JeriAzhari (6 Nov 2000)

Pilihan sebagai seorang seniman adalah jalan sukar yang berdepan dengan kepelbagaian tekanan dalam kehidupan material yang memerlukan kuasa nyawa tambahan (wang-perihal ekonomi) untuk mengekalkan kehidupan yang normal. Perspektif masyarakat, sahabat dan keluarga.

‟A person without relationship is not a person at all”.

Jeri Azhari (Nov 2000)

19 Julai 2006-19 Julai 2012Merupakan catatan ringkas mengenang seorang seniman Seni Pop di Malaysia. Segala usaha dan kehidupannya di abadikan dalam budaya popular, pemergiannya seperti hilang sebutir bintang.

Al-fatihah

| BAKTIAR NAIM

Ahmad Azhari Mohd Noor 'Robot'

1992 Besi, komponen enjin dan cat polychrome

230 x 97 x 83 cmKoleksi Balai Seni Visual Negara

Rujukan : Semua sumber penulisan dan gambar mendapat

keizinan daripada pemilik-Noor Sita (Balu Jeri Azhari) untuk disiarkan dalam Senikini ini.

pg/21

If with the development of a computer, this originally algorithmic and processing machine,

intermedia art has gained an equal position in the field of contemporary arts, the expansion of various user interfaces has caused it to become, and establish itself as, noteworthy in more traditional art institutions, as well. Today, at a point when it is increasingly appearing as interdisciplinary expressiveness, intermedia art is linked with other fields of art and embedded in an art work as a whole as its equal and credible part. Technology is now merely a means, no longer a goal; only one in a series of tools in a creation process, which can be used, as well as questioned and ignored. Open-source modes encourage new reflections about, and new approaches to, contemporary intermedia art. Just as the making of an art work is usually a creative process from beginning to end, open-source art advocates the creation of an art work as a whole from the source code to the final launch in the planned form and media. Although open source is an increasingly present notion in today's software, few people are aware that it is also largely used in the development of art products. On the one hand this is because when experiencing art we are only interested in the result and rarely think about the drive behind it, while on the other hand we take its technological foundation for granted, something within the domain of experts and connoisseurs. However, the technical aspect of a media work should be treated just as it is in other products and forms.

ART AS A PROCESS \\\\\\\\\\\\\\\\\

With the development of technology and the range of interfaces, and with new artistic approaches to, and comprehension and realisation of, an art work, the former rather rough computer-generated image, which attracted attention with, if nothing else, its unusual presentation, digital aesthetics and the possibilities of affecting it, is transforming into integral worlds illustrated by syntagmas such as mixed or hybrid reality. This can help us imagine a broader creative process in which we are not only faced with a digital image and/or sound –usually the key factors, which we can affect back, converting a state into a dynamic process under previously defined attributes – but in which a digital art work becomes part of a broader, more integral environment moving from the virtual into the real and back.

COMPREHENSIvE ART WORK \\\\\\\\\\

Thus, the emergence of new art works is increasingly coming closer to a distinct comprehensive art work (Gesamtkunstwerk), but not in the historic, Wagnerian sense, which distinguishes the on-stage happening as active and creative from the audience as a passive entourage in a nondescript crowd when it comes to comprehension of an art work; but in a more modern definition of the space and the individual, which interprets each spectator and/or listener as an active participant of the artistically generated reality and places them in an environment based on their actions and reactions. Some kind of an information body, a composite of external influences and stimuli, and internal receptions and processes, is formed in a relation to the given advantages of work and based on preferences and education of an individual; a new individual emerges, who divides his or her time between a digitalised world and an analogue one.

THE ANALOGUE, THE DIGITAL...\\\\\\\\\

The digital is becoming more and more real, and the analogue is transforming into the digital. It seems there are no artists or art that are not also present in the cyber world. Signals have been there forever, but in the contemporary world we are increasingly learning to capture frequencies and use them as information transmitters and a means of communication. Fascination with the technological, which was present in the past, was replaced by fascination with a user value, with usefulness becoming the focus. In such a constellation, art feels trapped and looks for ways to go beyond an immediate purpose. This is why it forges links with other fields, especially science, often seeking refuge in pseudo-science and ironising processes, or sometimes going for extreme conditions and expecting affirmation in view of attention that such an approach produces.

ART AS A PRODUCT \\\\\\\\\\\\\\\\\

Each art generates products. Art works are created even in a dematerialised environment of virtual reality. The material and the non-material establish a synthesized world of mixed or hybrid realities, which enhance the media reality with the all-embracing. Characteristic of it is a flow from one production centre into countless distribution channels, whereas the internet as a generator of mixed realities typically has countless production centres and distribution channels. This means that art is created and distributed in the same way, which brings about an immense creative platform of user-generated content. In an environment of these proportions, art has got another opportunity to depart from the old everyone-can-be-an-artist and DIY concepts through quality, creative superlatives and creative coding.

THE REAL AND THE vIRTUAL \\\\\\\\\\\

Therefore, in addition to its own emancipation, intermedia art has brought about a new revival of artistic creation that separated it from user experience. With intermedia, users have learned how to comprehend the real in a new way, and changed their take on environment though a virtual experience. The analogue, enhanced with principles and the aesthetics of the digital, has been given a new affirmation and has acquired a new meaning. It has returned to its source code and brought classical art forms face to face with creative principles of cybernetics and computer processes. Art has structured yet another new medium and defined it as creative in the domains of intermedia art. Thus, it could be maintained that intermedia art is the most avant-garde art present, because by merging media it initiates a dialogue between them, as well as dictates their equal relationship and, though a search for new means of expression in the analogue and the digital, their autonomous appearance.

THE OPEN-SOURCE \\\\\\\\\\\\\\\\\

As it seems, open-source solutions are central to the European (new)media art, partly because Europe has no software giant of its own and has always been interested in finding its own inspiration in computer engineering, but also as a result of its tradition of enlightenment, which fostered multiculturalism and multilingualism. It is certainly no coincidence that the Linux operating system was developed by a Finn, Linus Torvalds a.k.a. Linus Thorwald, who began creating his open-source system in 1991. Since its launch, Linux has grown into one of the strongest agents in world's software and a noteworthy competitor, which also operates most of world's servers.

ART AS A CODE: OPEN-SOURCE ART \\\\

Open-source art is considered the only true computer-generated art, bearing in mind both technological and user aspects, as well as creative and artistic angles. In Slovenia, new-media art has been based on an open source code, used by everyone in their products, with their solutions freely available on the internet (one of the best praxis the festival 'Kiblix – Open code for artistic purposes' presented since 2001 in the Multimedia Centre KIBLA, Maribor).

| PETER TOMAž DOBRILA

INTERMEDIA ART \\\\\\\\\\\\\\\\\\\

Intermedia art also comprises classical visual and music processes. It has upgraded onomatopoeia into own aesthetics of the nature; imitation was substituted by realisation, the generation of one's own living space, which is created amid wires and processors and is expanded by means of frequencies. The reach of frequencies defines the limits of the digital world and the space in which foundations for intermedia art-making are possible. But it has to be emphasized the digital is merely a simulacrum of a simulacrum. The digital only exists as a composite of the analogue with two features: density and speed. The digital is merely a human definition of what our minds and senses cannot perceive as continuous, analogue. Due to high density of certain elements on a reducing surface and an unimaginable speed of processing large amounts of information, this appears to us as if states are skipping, as if processes are arriving in portions.

...THE qUANTUM \\\\\\\\\\\\\\\\\\\

But even more complex and speedy processes take place in our brains, this entirely analogue organ with all its receptive capacities and constraints. The fact is that nature is analogue, while the digital is a composite of analogue processes in a small space in an extremely short time. Nature is quantum, as well, but we will not go into quantum physics and mechanics. In this wired information or digital society, a human is one of the knots in a net through which certain information is distributed; and is a creature on the intersection of communication connections and streams, one of which is intermedia art. Interwoven into it are pure classical art forms – painting, statue, architecture – and more modern media, which it uses to construct – photography, film, video. It has also become environmentally aware and motivated, as less and less art works deal with an upgrade, a move forward; instead they flirt with dated equipment, unused software, they turn to the decomposition of structures, or even attack and destroy computers in a Luddite-like manner to emphasize their questionable environmental role.

pg/22

| Peter tomaž dobrila is an electronic i.T engineer and a musician who focuses on the creative use of new technologies. He is currently working at maribor 2012- eurpean capital of culture as adviser to the programme director. www.maribor2012.eu

“Let my thoughts come to you, when I am gone, like the afterglow of sunset at the margin of starry silence.”

In Chitralipi (1930) Tagore wrote that the ultimate purpose of his works ‘is not to illustrate or to copy some outer fact or inner vision, but to evolve a harmonious wholeness which finds its passage through our eyesight into imagination. It neither questions our mind for meaning not burdens it with unmeaningness, for it is, above all meaning’.

‘Painting had a special place in this opening to cultures through which Rabindranath shaped the modern Indian cultural scene. Painting was the last art form to enter his oeuvre. Although he played the role of a catalyst in shaping the modern Indian art scene since the beginning of the 20th century, he began to paint only in his mid-sixties. This meant that while his creative work in other mediums, along with his engagement with the world, moved through a nationalist, pan-Asian and universalistic phase, his work as a painter belonged exclusively to the phase of universal humanism. His painting, more than his work in any other medium, was also moulded by his interactions with world art. Untrained in art, he found himself as a painter by connecting the sense of graphic rhythm he acquired through the cultivation of the art of writing with the rhythmic articulation of forms he encountered in certain strands of oriental, primitive and modern art.’

R. SIVA KUmAR

The National Visual Arts Gallery (NVAG) Malaysia is proud to hosts the exhibition entitled ‘The Last Harvest’, an international exhibition of artworks by India’s distinguished poet, philosopher and the first Asian Nobel Prize winner (1913) Rabindranath Tagore (1861-1941). This prestigious travelling exhibition, curated by Professor R.Siva Kumar, is co-organized by the Ministry of Culture of India with the National Gallery of Modern Art New Delhi in conjunction with the Nobel Laureate’s 150th anniversary and showcases 50 drawings, paintings and other works that offers art lovers a wonderful visual glimpse into the mind and emotions of one of Asia’s most celebrated literary giants of the 20th century.

Tagore, who did not receive formal training in the visual arts, brought to his paintings a view and feel that is both modern in approach but traditional in its themes. His subjects whether in quiet contemplation, at work or play are the everyday peoples and everyday realities. The faces, figures in groups or alone, the landscapes and animals are portrayed in a style that can be classified as naïf. However, it possesses visual potency in its simplicity, frugal use of colors and in nominal brush lines. The lone figures, portraits, landscapes and animals of his paintings and drawings, all rendered in the semi abstract visual idiom, are made more pronounced by the sparse background and economy of colors, tones in dramatic effects of light as well as shadow, perceptively reveals the subject’s character and conditions in its most unembellished and stark reality.

“I slept and dreamt that life was joy. I awoke and saw that life was service. I acted and behold, Service was joy.”

pg/23

There is ample information available about the multidisciplinary visual artist Chang Yoong Chia accessible to all at www. changyoongchia.net. Though the website-modest and unpretentious-much like the introverted artist himself, includes articles, reviews, interviews, his CV and a decent selection of photos plus recent works, as well as performances culled from his more than a decade career as a practicing visual artist, it is admittedly still, a difficult task to categorize accurately or to confine Yoong Chia comfortably within a specific context when analyzing or discussing his artistic output without being confounded or contradicted by his next creative oeuvre. Although his works, from paintings, drawings, prints to 3D forms of various scales and dimension, uses traditional art materials as well as common everyday objects such as wood, bones, eggshells etc, it is his unconventional approach to realizing his unique artistic vision that sets him apart from the generations of practicing artists in the country.

Without resorting to painting those silly vainglorious self aggrandizing portraits or striking ‘heroic’ poses complete with traditional garments and what not in dramatic lighting, his works especially his paintings makes subtle references to the self sans the insecure need to allude to ethnocentrism or religious identity (which as practiced here, comes with a hefty price tag!).

In Yoong Chia’s drawings and paintings, there is usually a wide-eye, male figure with his hair parted, sometimes attired in his salary man mode, other times sky-clad, and of late, frolicking with his female counterpart, whom both, without feeling being intruded upon, allows the viewers a glimpse of their tryst in their secret garden. What would express and

complete one’s self so utterly if not one’s own other half? Adam and his Eve, Shiva and his

Shakti, Yin and its Yang…..

Among Yoong Chia’s varied outputs are paintings on found, everyday objects. Discarded and perishable, some were collected from his daily strolls or from travels abroad. The themes of the minutely executed paintings and drawings on eggshells, animal skulls and bones, rocks, leaves, wood and other fragile

materials are usually symbolically about birth, life and all the excitement

and follies that we encounter along the way to the inevitable-death, which are all

aptly enhanced by the materials used and ingeniously mounted or framed. There is always

an element of irony and a dark sense of humor underlying these works which offers much amusement and food for thought.

Some aspects of Symbolism, Surrealism and Magic Realism are discernable or can be attributed to Yoong Chia’s works. He had in the past cited the visual artworks of Hans Christian Andersen as important influences too though the motivation that primarily fuels his imagination has always been the recollections selected from his childhood years as well as impressions and observations from daily life.

| TAN SEIHON

A pickup at the train station2006Oil on Canvas170 x 64 cmPrivate Collection

Portrait of hrh Chang Yoong Chia commissioned by his minions2006Ant Wings on Glass56 x 71cmPrivate Collection

Untitled2001Papercut mounted on Board38 x 25.5 cmPrivate Collection

The Giant2008Oil on Seashells17 x 23 x 7cm

pg/24

However, far from conveniently feeding off nostalgic longings and exploiting fond sentimentalities, his primary interests and themes have consistently shifted between or rather embodied both the existential, which he couches in the absurd, ironic or out-of-the-ordinary and the primordial (without being Primitivist), in the fantastical.

Recently, certain issues and sentiments that are keenly felt by the artist living and working in today’s perplexing political and cultural climate of uncertainty has slowly made its presence more visible in his works especially his collages, though it is done so without the pseudo political posturing or simpleminded strategies of appealing to nationalism, ethnic chauvinism or historicism as retort. Instead, all that is registered by the artist’s sense and sensibilities are presented in various lush, imaginary settings or mundane situations populated by men, flora and fauna in a symbiotic relationship where each with their own peculiar roles and functions, live in disquiet equilibrium.

That he has been able to comment on the situation of his surroundings without being pedantic or caustic, attest to an awareness of the role of the artist, a creative individual (especially those endowed with a sense of humor) armed with only a handful of tools for expression but a sharp, boundless intellect for thinking in subtleties and metaphors who as observers of the self, others and the signs of the times they live in, acts as documenter, commenter and celebrator.

Yoong Chia’s ability to synthesize all of this ‘grave’ preoccupations and presents it in an inventive and playful manner in painstaking details through his works in ways that make easy categorization difficult is much attributed to his patience and trust in the creative impulse; his inner guide to lead, uncover and extract from the impressions registered in his subconscious to arrive at that most

appropriate to his temperament, reflective of his personality and agreeable to his principals. His preoccupations may not be as ambitious or lofty like others but it resonates well with many of his admirers whom he continues to attract quietly each time and wherever he exhibits his latest works.

Eschewing the superficial and stereotypical, Yoong Chia meanders on the only way he knows, by following the creative impulses, impressions registered from daily life and his surroundings as well as from lived experiences while maintaining his artistic integrity.

A short review posted on the now defunct Kakiseni.com by an admirer of the artist ended with the question, “Where will Yoong Chia’s fertile imagination takes us next?”

Where indeed!

Since I grew tired of the chaseAnd search, I learned to find;And since the wind blows in my face,I sail with every wind

Friedrich Nietzsche

The darwin-wallace theory of evolution, 2010, postage stamps and adhesive (collage), 33 x 57 cm

Shadow of flora & fauna2009

Plastic toys, adhesive, wooden stool and light

97 x 32 x 32 cmCollection of Mr. Reuel Amstrong

Sunlight and animals of the night2008Oil on Seashells19cm x 9cm x 2cm

Prior to Indonesia, the wax relief technique used to produce batik has existed around the world in places like India, China and Europe. Thus the origins of batik are difficult to trace. However, batik from Indonesia soon flourished and developed into a truly unique art form that penetrated throughout the Indonesian culture.

Initially produced for personal use, by the second half of the 19th century batik had become increasingly commercialised to cater to a wide range of tastes. Numerous batik workshops opened, breaking free from courtly restrictions. Their fame reached Europe as European textile producers tried to make imitation batik, which only served to increase the popularity of Indonesian batik.

Batik flourishing in Indonesia was placed on an abrupt halt with the arrival of the Second World War. It led to a decline in aristocracy, the closure of many batik workshops, and social instability. Nevertheless, the Japanese occupation in Indonesia led to the introduction of new motifs and designs. With Indonesia declaring independence in 1945, the local people felt the need to reclaim batik again, cementing the country’s position as lead batik producers.

Batik soon permeated through to the common people from the Javanese court, as it was an art form that knew no social boundaries. Its diversity and beauty meant batik was widely collected, a move that is integral to keeping batik alive till today. Most notably were the Dutch who had previously colonised Indonesia. They garnered a considerable collection that found its place in museums. Thus, Indonesian batiks took to the world stage in the 19th century to gain its rightful place as a form of cultural heritage both locally and internationally.

What element makes batik so widely renowned? One might argue that it’s the surface decoration that plays host to an array of motifs and designs. It follows Indonesian life closely, as different motifs are used for various ceremonies and also for everyday life. They hold intricate meaning and also reflect status, and can symbolize the wearer’s occupation. For instance, fish motifs can indicate a fisherman’s hard work and dedication. Batik motifs are also viewed as a source of protection. Indeed, the tambal motif is thought to be able to protect and heal sick people. Thus, batik patterns were not purely decorative; they served for a further purpose that extended beyond aesthetic appreciation. However, the forbidden motifs are the most treasured and revered, as they were exclusive to the kraton, or royal courts. These restrictions had a considerable impact on the creativity and progress of the batik pattern. Forbidden motifs like the parang rusak, or broken sword, originally stood as a symbol of power. These meanings tended to fade over time, or became distorted. Nevertheless, this shows the adaptability of batik, and how it fits into its historical context.

How does all this relate to Ann Dunham? One might argue that she not only could identify with the motifs themselves, but was also heavily involved with their creation. The exhibition at IAMM thus showcases her love for this traditional art form and way of life, and how deeply embedded they were in each other.

Ann Dunham’s Legacy: A Collection of Indonesian Batiks will be on display from 9th June to 20th July 2012 at IAMM. For more information, please see www.iamm.org.my

| SHING YI TAN

Images courtesy of the Islamic Arts Museum Malaysia

'Ann Dunham’s Legacy: A Collection of Indonesian Batik' is an exhibition at the Islamic Arts Museum Malaysia (IAMM) that showcases the personal batik collection of Ann Dunham, President Obama’s mother. Her diverse and unique collection reflects her understanding of the batik tradition, and her drive and ambition in furthering Indonesia’s prospects. To fully comprehend Dunham’s passion for this tradition, one must examine the origins of batik and how it has adapted and evolved over time.

Batik-making is a laborious and complex process, making it a rooted tradition amongst the batik-making families. Batik tulis, or hand-drawn batik, and batik cap, or block-printed batik, are the two main methods of making Indonesia batik. In terms of fabric, silk and cotton are both used, although cotton is preferred. Wax is applied to resist dyes, henceforth creating patterns. The dyeing process is the crucial stage, with blue, brown and deep red used as traditional Javanese colours. The Javanese also perfected the dyeing technique, so that the colours don’t fade easily. The batik maker draws the freehand pattern in pencil on the cloth prior to the wax application, with the wax removed with hot water. This process is repeated until the desired effect is achieved. Indeed, the most exquisite patterns take up to a year to complete.

pg/26

Sam Karuna is acknowledged as among the handful of modern batik masters still painting in this tedious but vibrant medium today. Sam, who began his career as a fulltime artist in the 1960s found batik painting to be his medium of choice. Since then, he has had numerous successful exhibitions locally and abroad. He uses the batik medium to capture and present spirit of the peoples of Malaysia that makes this country unique. Sam is also the creator of the technique which he named Dyetik that helps him to achieve more realistic details hitherto never before seen in this medium. SENIKINI caught up with the ever affable painter at his home studio in Bangsar to find out more about his life and what inspires him.

When did your interest in the visual arts started?

Since my childhood years, I have always had great love for expressing myself artistically. I guess I'm blessed with this innate ability and it's in my soul. Perhaps it is my destiny to pursue a career in the visual arts. Who were your early influences?

In the late 1960's when I was in high school, I had to pass by the late Datuk Chuah Thean Teng's small art studio in Leith Street off Chulia Street in Penang to school. Never a day would I pass his studio without having a glimpse at his batik paintings. As we are aware, most modern batik art Masters come from Penang and the numerous batik art exhibitions held there influenced and reinforced me to take up batik as fine art, and later to take it to a greater heights to worldwide recognition. When did you decided to become painter/artist? What were the challenges you faced when you began your art career?

In the early 60's when I was still in secondary school, I was already artistically inclined and had this insatiable interest for drawing and

painting. But since I came from an average working class family with limited means, my involvement and interest in art was not welcomed by my parents. They would prefer that I take up a profession that provided a steady income rather than to be an artist.

To be able to afford the art materials and to pursue my dream, I took part -time jobs, taught art with a regular student base and sold my works at whatever price that was offered. It was an uphill battle but my persistence and determination was strong. It kept me going to where I am today, a successful artist. When did you start using batik as your medium of expression and why did you choose it?

The late Datuk Chuah had raised the status of batik craftwork to fine art at the exhibition in London and many artists were emulating him in the 1960s.

I was influenced and convinced to become a batik fine art artist. Are there any other artists who have influenced you in your work besides Datuk Chuah Thean Teng?

Dato’ Tay mo Leong and Toya Lim Khoon Hock. What messages do

you wish to convey through the batik medium?

The Batik medium is a national heritage and deserves a place in the world art stage. It is a very lively and generates keen interests in various parts of the world. Why was there a need to experiment with batik technique? What impact were you trying to achieve?

Originally, batik was considered a craft due to commercial exploitation. Datuk Chuah raised its status to modern fine art. Batik fine art techniques before and now are basically the same.

Since I believe in the idea of being original and to be different from other fine art batik artist, I experimented on the techniques of Batik 'ism' for several years and finally made a breakthrough.The name of the technique which I have created is 'Dyetik', which is similar to the pointillist effects of Georges P. Seurat.

However, my technique is more refined as I use very fine dots, an approach I call ‘Micro-pointillism’. The results are speckled effects with varying shades that invokes a multitude of moods to presents a mystical feel to the paintings.

My predecessors took Malaysian art to where it is today. Their contributions have inspired and energized me. Like runners from the same team, I feel like I have received the baton that was passed to me and it is now my responsibility to run the extra mile in perfecting this medium of art which we are proud to claim as our own. One must take pride in whatever one does and to continue to improve whatever one is doing.

The only time you become an immortal is when your work immortalizes you.

Sam is one of only two artists invited to India this year by ICCR - ASEAN Painters' camp In Darjeeling, India which starts on the 9th to 19th June 2012. He is proud to be selected and hopes to promote the good name of country and her peoples through his art.

'Tropical fruit' 76 cm x 61 cm, Dyetik

'Spirited Child', 87 cm x 66 cm, Dyetik

'Unity', 100 cm x 80 cm, Dyetik

pg/27

On May 24, 2012, Rahmat Haron stood with his back to the palace wall in Mandalay. In his

left hand, he held a kerosene lantern; in his right, an open umbrella. Someone placed a chair under the umbrella. A few minutes later, ma Ei, a Burmese artist from Rangoon, her shoulders draped with a white scarf, sat down on the chair. The two gazed without emotion. A crowd slowly began to gather in the street. Motorbikes stopped. Cars slowed down. The four lane road was at a near standstill.

Maung Lwin distributed cut straws – a small whistle used by Burmese children. myint Thein Suu, principal of Dreamland Art and Music School, carrying a flashlight, began sweeping the sidewalk. Htay Aung myat passed around paper-framed glasses with colour plastic lenses for people to wear.

Then, Ni Maung Oo, the senior artist of the group, placed a wooden chair to the left of Rahmat Haron and began binding his leg to it with a rope. From the rope, little tinkling bells swung. He recited a short poem and then promptly plugged his

mouth with a light bulb, covering it with red duct tape. His body jerked, causing the chair to move about 7 meters.

moe Satt enters the arena and writes MYANMAR on the sidewalk with chalk and elicits words from the audience to describe their country. Rayza mukmin appears with a sarong cloth tied over his head; he writhes around, trying to take it off.

A few yards away, I open the plastic woven floor mat borrowed from Dreamland, sat down, and fold it around my body. Once fully enveloped, I begin to slowly roll towards Rahmat. I am not totally sure what will transpire when I get there and it does not matter – just 30 seconds or so into it, I hear Moe Satt’s voice near my head, “The police are here. They say you must stop the performance now.”

I slowly parted the fold and poke my head out – still in performance mode. I unfold myself from the mat and drag it behind me as I went to fetch my shoes and bag. I then wrap the mat around me and trudge across the four lanes of traffic to where Khalilah, my two-year-old daughter, is sitting with Ma Ei and Nge Lay.

Eventually, the others made their way over. We all sat under the trees and enjoyed mango drinks from a nearby stand. Except for Moe Satt, Ni Maung Oo and Myint Thein Suu – they have been driven to the police station for questioning. Everyone seems to be taking it quite lightly so I naively assume this is just a short procedure and they will get a fine for some silly infraction.

Three cops zip into the side street and talked to our driver. We were rounded up and told to go to the station for further questioning.

The room is small and dark and crammed full of uniformed police and plain-clothed informants. I recognize several faces from the crowd on the street. Cameras clicked away. Wong Eng Leong, one of my Malaysian counterparts, whips out his video camera. No one stops him or takes it away. Khalilah, who is hungry, helps herself to the officer’s potato chips sitting on his desk. They ask us about our performance. It is all relatively cordial.

What was your performance about?

Being in foreign land, I answer, semi-truthfully.

What about the mat?

Oh, it was my vehicle – like a time machine, I reply.

Everyone is questioned. I cannot report much: I do not understand Burmese and was too busy dealing with the “chip thief” to pay attention to translations. About 45 minutes later, I follow the others out of the room and back to our truck. We are escorted by several police vehicles to another station.

There is no electricity, no fan, and it is mid-afternoon. We are there for what seems like a few hours. Khalilah develops prickly heat, is sweating profusely, and is understandably cranky. We are all bored, tired, hungry, and hot. One by one, we are sent into a room to fill out a form that we cannot read (in Burmese). Eventually, boredom and frustration took over and some cheeky performative gestures are made in the conference room. Some rice and omelette is delivered after complaints about the baby being hungry.

We are dismissed. No explanations from anyone other than Moe Satt, who has signed a contract agreeing to not make public performances without proper permits.

Sounds reasonable.

The next morning, we pack up, check out of the hotel and left our bags in the lobby while we went sightseeing in the countryside.

We have a bus booked back to Yangoon that evening and our flight home is the next morning.

Around 2 o’clock, Moe gets a call-Immigration Police are coming. They follow us back to the guesthouse. The small lobby is packed full of cops. Moe tells us we must board a van and that they will take us back to Yangoon – he is allowed to come, to interpret. So, at 4:30, the five Malaysian artists plus Khalilah, Moe Satt, four officers, and a driver left for Yangoon.

We arrive at 4:45 am. We are told we can check in to the hotel across the street from the airport but that we must pay for it. We are then told that we must go to the Immigration Office at 5:30.

What’s the point? I snap.

| CHELSEA HIKES

We were herded back into the van, stopped at a tea shop, and then driven to some random house-like structure. There was no electricity, no running water, no soap. The main room had a bunch of dusty desks and chairs. We are allowed to go across the street to the “café”. They left us there with a driver/informant.

Four gruelling hours later, another car pulls up. We are driven to the airport. The Burmese artists are all there waiting for us – except Muang Lwin. Our passports are confiscated and we are left in front of security for some time. More performative gestures are made between us and the Burmese artists as we gaze down through the glass wall dividing us from our friends.

We are taken past security and escorted to the boarding area. We are left there til boarding time. Then an officer

comes, hands our passports over to a flight crew member, and we are first to board the

plane.

When the plane lands, Rahmat asks for our passports. Some crew member had us follow

her and then we are told to wait

again. We waited about an hour before receiving our passports – stamped DEPORTEE.

Now, the seven Myanmar artists are waiting for the court’s ruling – 2000 Kyat ($2 USD) fine or up to three years in prison. They are being charged with an obscure law that the charging officer “spent all

night researching to find something to charge you with”.

Upon reflection, this goes along with the entire process we went through. No one explained

to us why we were being detained or

what we were being charged with, we

were held in extremely uncomfortable “confinements” without any

orders on what was expected of us, and we were deported on our own airline tickets. It seems to me that our performance unnerved some officials – who didn’t know what to make of it and decided to keep us away from the public so to not arouse populace interest.

This is not a sign of the democratic Myanmar that is being touted to the international media. Our experience and the on-going “investigation” needs to be covered as much as possible so that people understand that Burmese officials are not actually prepared to allow freedom of speech and expression within their country – there is still so much work to do there.

pg/28

About the Artists :

Muhamad Noor Bin Md Yussoff aka Tony Mdy Full Bio please logon to http://www.tonymdy.com/p/profilebio.html

Safirah Binti Rashid Full Bio, please logon to http://arts.lensa.asia/p/my-profilebio.html

All of these artists had participated in 'World Bodypainting Festival' in Austria in 2010 and 2011 representing Team Malaysia in the category of 'World Award' AIRBRUSH and FineArt led by Tony mdy.

Camouflage/Invisible Art - object remains unnoticed by blending with its environment.. Think FAR (Fake Art Realistic)

For more please logonwww.tonymdy.com

This Isn’t a Painting!! "See if you can find the people in these photographs"

Note : THESE ARE REAL PHOTOGRAPHS WITH REAL PEOPLE,

NOT DIGITAL MANIPULATION! The Experimental...Human as a canvas-live Sculpture, ‘pop-out' painting, which are like a ‘four-in-one' as it combines painting, installation, performance and photography. This type of painting is made up of an under and top layer of colours. The top layer will have to blend into the picture and appear three-dimensional. And as long as the models remain still, or if viewing via photograph, the models will look like part of the picture. Ini Bukan Lukisan dan Ia adalah orang Sebenar!!----------------------------------------------------------------

Ini ialah Fotografi...Tiada unsur foto digital manipulasi. Experimentasi Konsep FAR Pop-Out Fake realistic painting merangkumi 4 dlm 1 iaitu ; Painting, Installation, Performance & Photography

Idea sebenar seni ini adalah menampakkan seolah olah ia sebuah Lukisan dalam still photography tetapi hakikatnya ia bukan sebuah lukisan. saya gunakan orang sebenar sebagai kanvas dan menjadikan ia sebagai arca hidup dalam mempersembahkan karya tersebut.

pg/29

Shafee Ramli, 'Rest in Peace. Rebus. (A tribute: Robert Rauschenberg)'

Khairul Arshad, 'Mission Impossible'

Azrin mohd, 'Just a Dream'

For those not in the know (and I was one of them) House of Matahati (HOM) is an art and culture gallery cum center in the middle of Kuala Lumpur linked to a spectrum of diverse and exciting creative arts practitioners. I would say no more about the center but I strongly recommend that you go and visit the center and be astonished.

I was invited by a friend to see an exhibition at the gallery entitled ‘PopUp’ by email. My first impression as someone coming from the Mat Salleh world was “Oooooo Wonderful! …. but I’ve seen all these before”. So I asked myself,”Do I really need to see it again?” But I promised myself not to have any preconceptions based on my pass experiences.

And so, I went to the exhibition and came away pleasantly surprised. I have not seen these kinds of works before; these are something different. True, some of these works reflects those produced in West, mostly in the 70s but was made dissimilar by the touches of these young bona fide Malaysian artists. These works still have significant bearings whether made by Mat Sallehs or not Mat Sallehs. These works, in all their diversity clearly communicates their critical reflections towards something that is not only felt by the Malaysian artists but also by other artists in the art world. From the point of formal visual language, the artists’ works does reflect western notions, however on the point of substance, the works are typical Malaysian.

Let’s look at Azrin mohd’s work, the title alluding to Andy Warhol’s famous statement about 15 minutes. To Azrin Mohd, life is like a dream, if we were not in a postmodern era it would be pure Surrealism. His painting depicts the world of dreams in a post modern era, which presents very intriguing situations.

Anisa Abdullah, 'Take Me Home'

Both Najib Ahmad Bamadhaj and Anisa Abdullah’s works are about homecoming and nostalgic sentiments, but not the saccharine kind of feeling caused from living in an urbanized habitat.

Both approaches employ critical statements of reality as experienced by the artists, and as themes explored in their work. The use of language in an artwork is a post modern approach and at the same time reflecting a very formal visual language.

Shafee Ramli touches on socio cultural sentiments with political connotations by paying tribute to Robert Rauschenberg, that socio-cultural and political rebel of the 70s from America when America was ‘America’. However, today America has become ‘AmeriKKKa’. The world needs more Rauschenberg(s).

On the other hand, another artist, Akhmal looks at the identity or characteristics of a wooden found object

and explores a mix media application on the wooden surface while Alicecia explores the personalization of the relationship between technology and

her own Identity in it.

Definitely these works are multilayered in their conception

and interpretation, they are not to be seen in one go, these works needs to be revisited, because they are not “Mat Salleh" art. They are Southeast Asian in origin

and Malaysian in substance, contemporary at the given moment and the art of the moment with a distinctive

past in it.

pg/30

Miodrag (pronounced Mishko) Desovski is a contemporary visual artist from Macedonia currently residing in Malaysia. He is one of the founder-member of Collective Zero which was invited to participate in the 54th International Biennale in Venice, 2011.

Setiap individu mempunyai watak yang tersendiri. Bagaimanakah kita dapat mengenali diri dan membawa diri kita kepada orang sekeliling?

Sempena pameran 'Japan: Kingdom of Character' yang mempamerkan Super Hero seperti Ultraman, Pokemon, Hello Kitty dan banyak lagi watak idaman di BSVN, Bengkel Seni Cuti Sekolah yang bertajuk 'Ayuh Mengayuh!' telah dilangsungkan pada 10 hingga 12 Mac 2012. Bengkel ini adalah bertujuan untuk menggalakkan proses mengenal, mereka bentuk dan mempersembahkan watak demi dapat meningkatkan keyakinan diri melalui proses lukisan, seni rekabentuk 2D dan 3D, berserta dengan aktiviti-aktiviti social seperti rebana dan mengayuh basikal.

Pelbagai bengkel telah dilaksanakan secara serentak pada ketiga-tiga hari tersebut dan seramai 80 orang peserta yang terdiri daripada golongan guru, ibubapa dan pelajar telah bersama-sama mengalami pengalaman ekplorasi seni yang tidak dapat dilupakan dengan pelukis tanah air yang berbakat.

Antara pelukis yang menjadi tenaga pengajar ialah Muhamad Faizal Bin Abdul Jalil, Shieko Reto, Paul Lau, Nuriman Amri Bin Abdul Manap dan Jasmine Kok.

Demi permintaan dan sambutan hangat daripada para peminat seni, pasukan cawangan pendidikan BSVN berjanji akan mengulang program 'Ayuh Mengayuh!' dengan fasa baru pada cuti penggal akhir tahun yang akan datang nanti. Maklumat yang terkini akan dipaparkan di laman web BSVN: www.artgallery.gov.my atau fb BSVN : Balai Seni Visual Negara dan Balai Seni Visual Negara II.

En. Muhamad Faizal Bin Abdul Jalil, Bengkel mereka bentuk watak

Jasmine Kok, Bengkel Creative Recycle

Nuriman Amri Bin Abdul Manap, Bengkel Creative Recycle

Pasukan Cawangan Pendidikan BSvN, Mencetak T-ShirtTugu Drum Circle, Bengkel Rebana

Shieko Reto, Melukis Mural

Shieko Reto, Bengkel mereka bentuk watak

Perbarisan : Ayuh mengayuh!

pg/31

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Internasional Art Services(M)Sdn Bhd-mover and transportation of artworks-Jerry (Supervisor)Tel: 03-7846 5821Fax: 03-7846 1944Email: internationalartservices@jim.com.my

Leong Brothers-Artistic, Frame Specialists and Designer, Glass Dealer-331 Jalan Tuanku Abdul Rahman,50100 Kuala Lumpur.Tel/Fax: 03-2691 3941Tel: 03-2692 2116

Perniagaan Hai Kuang Sdn. Bhd.-Supplies all kinds of screen printing, pad printing,materials, equipment machinery and stencil making service.Head Office : No. 51, Jalan Dato’ Haji Eusoff, Damai Komplek,50400 Kuala Lumpur, Malaysia.Tel: 03-4042 9569, 4042 0071, 4041 9493, 4041 9479Fax: 03-4042 2467(ADMIN) , 4042 3425(SALES)Email: haikuang@tm.net.mySOLE DISTRIBUTOR IN MALAYSIA(The Most Famous in Silkscreen Printing Industry)

WS ART & FRAMES CENTRE SDN. BHD.(Art Gallery, Conservation & Custom Framing, delivery & Installation of Artwork.)No 34, Jalan Dang Wangi,50100 Kuala Lumpur.Tel: 03-2698 0132Fax: 03-2692 7520Email: wsartctr@msn.comA member of:PROFESSIONAL PICTURE FRAMERS ASSOCIATION(USA)

BASHEER GRAPHIC BOOKS AT BORDERSLot – 216-B, Third Floor, The Gardens Mid VALLEYLingkaran Syed Putra 59200 Kuala Lumpur.www.basheergraphic.comwww.basheercityroom.com

THE ART SHOP(Art Material, Technical Drawing Instruments, Stationary)No 65, Jalan Negara,Taman Melawati,53100 Kuala Lumpur.Tel: 03-4108 8322 Fax: 03-4107 8036Wholly Owned By Hi-Scan Wholesale Sdn.Bhd.

KHAI LIEN SILK SCREEN SUPPLIERS (M) SDN.BHD.132, Jalan Selar, Taman Bukit Riau, Batu 3 ½,Jalan Cheras, 56100 Kuala Lumpur.

Tel: 03-9283 7032 Fax: 03-9285 1035Email : kailien@po.jaring.mywww.khailien.com.my

We supply:Inks, Machineries & Equipment, Other Silkscreen Materials, Advertising.

Clarity Enterprise(wholesale & retail keychains, accessories & art pieces)No. 21 Lorong 9/115C, Taman Jaya,Off Jalan Kuchai Lama, 58200 Kuala Lumpur.Tel/Fax: 03-7875 9195Email: clarityenterprise@gmail.com

D.I.Y / Freelance / SerVIceS

SUPPlIerS / SerVIceS / BOOKS /

cenTreS / GallerIeS / STUDIOS / OTHerS

New Black Coffee LabPlaza Crystaline @ SetapakB-2A-1, Jln Danau Niaga 1Taman Danau Kota 53300 Kuala Lumpur MalaysiaTel: (60) 3-6272-2818

FINDARS Art gallery + performance space for rent!

No. 25-2, Jln Metro Wangsa, Seksyen 2,Wangsa Maju, 53300

For more info, please visit

http://findars.blogspot.com

ali Mabuha rahamad: Kembara di Sarang Seni (Journey Into the World of art)

• Essays by Nur Hanim Khairuddin & Ooi Kok Chuen

• Selected works from the 1970's to 2011

• Complete Bio & references

• Malay & English

rM 140

Pertarungan: amron Omar

• Essays by Alizam Hassan, Safrizal Shahir, Pakhruddin Sulaiman, Hasnul J.Saidon and many more.

• Selected works from the 1980's to 2011

• Complete Bio & list of works

• Malay & English

rM 150

raja ah: The art, Ideas and creativity of Sulaiman esa (1950's -2011)

• Essays by Nur Hanim Khairuddin, Associate Professor Dr. Abu Talib Putih, Simon Soon & Zabas • Selected articles by Laura Fan, Ooi Kok Chuen & Veronica Shanmugam

• Selected works from 1950s to 2011

• Selected essays, bio of Dr Sulaiman Esa and many more

• Malay & English

rM 140

JaGa: Pameran arca

• Essays by Rosli Zakaria, Syed Alwi Syed Abu Bakar & Dr. Sabzali Musa Kahn

• Complete lists of works

• Malay

rM 70

Saksi dan Bukti: Anassuwandi dan Faizulyusri

• Esei-esei oleh Baktiar Naim dan Syahrul Niza Zaini

• Biodata dan gambar karya-karya pelukis

• Bahasa Malaysia

rM 40

All publications can be purchased at the Gallery Shop located at National Visual Arts Gallery. For enquiries please email to osmi@artgallery.gov.my / http://publicationbsvn.blogspot.com

Latest PubLications

Keahlian pelukis akan menikmati faedah menarik seperti berikut :

Dijemput menghadiri pembukaan pameran, menyertai program khas, bengkel, ceramah dan sebarang acara anjuran Balai Seni Visual Negara.

Menikmati *diskaun 10% ke atas hampir kesemua barangan di Kedai Galeri merangkumi bahan-bahan melukis, penerbitan dan cenderamata.

Menerima maklumat terkini melalui SMS.

Menerima warkah Balai Seni Visual Negara, SENIKINI : Malaysia Art Now, percuma untuk setahun (empat keluaran).

Nama dan alamat pelukis akan dimuatkan di dalam rangkaian laman web direktori pelukis Balai Seni Visual Negara.

JOMJadilah ahli

Wan Faizun Za�an : faizun@artgallery.gov.my

2012‘ABDUL LATIFF MOHIDIN’ (A BIOGRAFICAL EXHIBITION)26 Dec 2012-13 June 20132A & 2B, 3A & 3BGuest Curator : Tengku Sabri Ibrahim

‘IKONIK’(NATIONAL COLLECTION)20 Dec 2012-12 June 20131A GalleryCurator : Bakhtiar Naim

EXHIBITIONS‘MEMBERS ONLY’ 11 Sept-11 Dis 20122A GalleryCurators : Lim Ai Woei,Mohd Anuar Abd Aziz &Adnan Miswan Awang

‘SULALATUS SALATIN ISMAIL EMBONG10 Mei-16 Jul 20121A

‘KUASA, HARAPAN DAN TANAH’ 7 Aug-19 Nov 20122BCurator : Intan Rafiza

‘WAKTU DAN KETIKA’ PHOTO EXHIBITION12 Jun-2 Sept 20122A GalleryCurator : Mohd KhazrulSharuddin

‘PERTARUNGAN : AMRON OMAR’15 Feb-27 Aug 20123A & 3B GalleryCurator : Alizam Hassan

‘THE LAST HARVEST : RABINDRANATH TAGORE’28 Mac-15 Jul 20122B GalleryPresented by the National Gallery of Modern Art India

RECENT ACQUISITIONS (NATIONAL COLLECTION) 31 Jul-31 Jan 20121A GalleryCurators : Mohd Fairus Ismail & Ismail Yacub

‘KARTUN ’TULEN’ MALAYSIA 26 May-23 Sept 2012Reka GalleryCurators : Syahrizal Zaihadi & Jazmi Mohamed Sharif

2 Jalan TemerlohOff Jalan Tun Razak53200 Kuala Lumpur

T603 4024 4998F603 4025 4987

Taman TasikTitiwangsa

PETRONASTWIN TOWER

HOSPITALKUALA LUMPUR

INSTITUT JANTUNGNEGARA

ISTANA BUDAYA

EMPIRE TOWER

CITY SQUARE

MENARA MARINARA

PERPUSTAKAANNEGARA

PUSAT DARAHNEGARA

PWTC

TABUNGHAJI

Jln Ampang

www.artgallery.gov.my

Kini anda boleh melayari Portal Balai Seni Visual Negara versi mudahalih menerusi telefon pintar anda dengan hanya melalui Kod QR Balai Seni Visual Negara. Berikut disediakan cara penggunaan Kod QR.