Malaysian art now

#02

>TENT- ALIZING DESIGN Kuala Lumpur Design Week 2009

>MENGENALI SENI KHAIRUL AZMIR SHOIB

>CANDY COATED: CUTE CONFUSION

>MALAYSIAN ART IN DUBAI >BEING RICH IN PENANG Sharon Chin@Malihom

C O N T E N T S

FEATURE04 Tent-Alizing Design_Kuala Lumpur Design Week 2009 08 Candy Coated:Cute Confusion

COVER ARTIST06 Mengenali Seni Khairul Azmir Shoib(Meme)

10 PASSING Peter Harris

EXHIBITION HIGHLIGHTS11 Bauhaus Architecture14 The Art of Visualizing Salina14 ILHAM Inspirasi Kontemporari 2009 12 SHARING The Village Next Door: Community Art + Life

13 ARTIST IN RESIDENCE Being Rich in Penang

BSLN Programmes and Activities15 Malaysia Art Galleries(MAG) Unveils Art Services Showcase in Malaysian Service Exhibition, Dubai.

18 BSLN PUBLICATION

19 WHAT’S ON

Far from remaining in a state of siege due to the economic crisis, the visual art scene in Malaysia is vibrant and continually re-inventing modes for mass visual reception.

The Glosoli is Khairul Azmir Shoib’s (Meme) propitious and charming contribution for the #02 cover which attempts to collate in this issue, some thoughts on the endearing, the curious and the tradable. Hashimah elaborates on the magic of Meme’s lines as Wening shares her research on the theory of the cute. Simon shares his insights on community art, while Sharon basks in the richness of Penang. Both of them manage the Arteri art blog. KL Design Week which lasted for just a few days, had courageously taken up the challenge of privileging art and design amidst the tightening of purses. KLDW 2009 as elaborated by Usnita and Awin in this issue, had defi nitely gave focus to the tantalizing tastes of good local and foreign design.

Art as products of trade is elaborated on by Faridah who reports on our Malaysian art Galleries–MATRADE maiden sojourn to Dubai, United Arab Emirates (UAE). The opportunity to witness the two world class events of the UAE being held in the same week–Art Dubai and The Global Art Forum certainly taught us a lesson in the making of a cultural hub. And on a quieter note, my art teacher and artist Yeoh Jin Leng remembers Peter Harris, the founder of the Wednesday Art Group who had departed on the 14th of March. The Malaysian art fraternity will miss him, nonetheless vivit post funera virtus or hancur badan dikandung tanah, budi yang baik dikenang jua..

Dr. Mohamed Najib Ahmad DawaEditor-In-Chief

Editorinc.

can be accessed at www.artgallery.gov.my/senikini and senikinibsln.blogspot.com

Any feedback and comments please email to us at:wening@artgallery.gov.my

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

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

All Rights Reserverd.Copyright©2009 SENIKINI Malaysian Art NowPrinted in Malaysia.

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

P : 603 4026 7000F : 603 4025 4987

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

l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING EDITOR Ch’ng Huck Theng l EDITOR Zanita Anuar l DEPUTY EDITOR l Wening Cheah l EDITORIAL TEAM Hashimah Nyok dan Tan Sei Hon l CONTRIBUTORS / WRITERS Zanita Anuar, Hashimah Nyok, Faridah Hanim, Wening Cheah, Usnita Nasir, Irvin Hanni, Simon Soon, Sharon Chin and Yeoh Jin Leng l DESIGN Nuzaihan Mustapa l PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l

Cover Artist : KHAIRUL AZMIR SHOIB (MEME)

‘GLOSOLI’- the idea of this character design come out after I listen to a song entitled ‘Glosoli’ from Sigur Ros. Glosoli = Glowing Soul - represent a new hope, mark, style or symbol of an artist (existence in the art scene).

Digital photography by Zaihan

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6 April - 31 May 2009Galeri Shah Alam Persiaran Tasik, Shah Alam, MALAYSIA

Two Japanese acoustic street artists from Japan is performing in one of the Secret Tent @ Secret Tent Bazaar at Capital Square Kuala Lumpur.

FEATURES

As one of the fastest growing cities in Asia, Kuala

Lumpur has design potential at a level comparable

to other innovative cities around the world. We are

progressively embracing design not only as a way to

develop our own identity and national pride but also as

to make our mark in the international arena.

Kuala Lumpur Design Week (KLDW 2009) may not be

the fi rst Design Festival to be held but nevertheless is

the fi rst attempt in Malaysia.

KLDW 2009 is an important platform following the

success of the ones held in London (2006), Bangkok

(2007), Singapore(2007) and Vienna (2008). This

exercise is seen by the design community as an

important platform for artists and designers to share

and exchange thoughts and processes regarding their

latest tantalizing designs.

The project aimed to centralise, encourage, maximize

and upgrade the quality of design thus creating a

pathway into an international market and connections

in the design industry. Apart from the huge potential

of commercial rewards, this exercise assisted in

shaping the new culture of good design habits in

Malaysia, and profi ling our existing home-grown talents

to the eyes of the world.

KLDW 2009 presented and hosted design superstars

from United Kingdom, France, South Africa, Italy,

Lebanon, United States of America, Spain, Australia,

and Germany, along with stars from Asia such as Japan,

Hong Kong, Taiwan, Singapore, Thailand, and Malaysia.

They have all been invited to exhibit their creative

works and also give talks pertaining to their expertise

in the world of design, to motivate the new generation

Malaysian artists and designers.

Entitled “Show + Shine”, KLDW 2009 had served as a

platform for all creative-based inputs and outputs. In

the nine days, from March 27 to the 4th April, KLDW

2009 showcased design superstars in an extraordinary

series of exhibitions and installations in the Annexe,

CapSquare and at the National Art Gallery (NAG).

CapSquare KL became the much talked about site

when they became the chosen site for the Secret

Tent Design Bazaar. The tents were showrooms for

many aspiring designers to share their hand-made

productions, designer T-shirts, postcards, buttons and

various imaginative productions. Young designers Hafi z

and Fazli paraded products and T-shirts for sale under

the label FLIPPTEE. Liyana, an engineer by training

mused over denim discards.

The upper fl oors showcased thought-provoking and

challenging ideas, young and enterprising designers

illustrate the endless possibilities of medium,

technology and creative solution. Michael Chuah

shared tips on surviving as a character designer and

comic book artist, Muid Latiff one of the notable

Malaysian digital artist and a founder of art collective

group, Digital Malaya Project thrills viewers with his

portfolio. Dragonsoft Research provided interactive fun

and evidence of their hi-tech phenomena.

Gigi Gee, the jewellery

designer captured great

attention to her pretty

clay array. Nana from

Roomism group had an

array of character designs,

represented by handmade

soft toys and products

namely ‘Kelu’ named after

the Bat town of Kluang, Johor.

A large installation and intriguing

mosaic of collaged impressions by

ISSUE #02

04

TENT - ALIZING DESIGNINSPIRING THE MALAYSIAN CREATIVE ECONOMY WITH KUALA LUMPUR DESIGN WEEK 2009l by Usnita Nasir and Irvin Hanni( Awin)

Dr. Mohamed Najib Ahmad Dawa, Director General of NAG viewing the works by Aya Kato the petite Japanese designer standing on his right

Hi, I’m little bat “Kelu”“Kelu” is exampler of the Kluang spirit. Though most youngsters of Kluang pursue hearts are still where thair home is... with not only demonstrates the life of Kluang residents but also their love for this city, stirred from the Bat DNA in our blood. @www.roomism.net

na.

Work by MAWS. MAWS is a group of four dwsigners: Jacky Low, Vuhy YIP, Nyman YAP and Cindy Tsan. MAWS is running a ‘F* project’, a message to create awareness among the coumunity on matters that concern our environment. @www.maws.my

Funky lampshads by Heath Nash a South African designer who transform trash into treasures using plastic bottles, caps and other discarded materials. @www.heathnash.com

Secret Tent, Design Bazaar is a creative space where anything goes. Each tent showcases unique works of art and design. It provides a sneak peek into what we may expect of the Malaysian Creative Economy in the future.

Michael Chuah plays his role as a character designer and comic book artist. In 2005, he produced “Genky 100 - The Character Guide”. Currently, Michael’s been fi ddling with his new character series called “The Never Ending Tales” and more activities coming on their way. Find out more@www.michaelchuahdesign.com

MAWS a group of four talented designers greet visitors who

gravitated around the work in admiration.

As one of the prime venues, NAG exhibited the Barack Obama

presidential poster designed by David Carson of U.S.A. One of

graphic design’s most infl uential gurus, David Carson presented 26

of his favourite design works in KLDW2009. This professional surfer

and former director of the Ray Gun magazine,

serves as Creative Director for the Gibbes

Museum of Art in Charleston, and recently

released two new books TREK and The Book

of Probes with Marshall McLuhan. There

were also a diverse line-up of imaginative

and inspiring design works from all over the

world, including the intricate oriental digital

artworks of Aya Kato from Japan, typography

master Nathalie Fallaha from Lebanon, Asian

design hotshots Jackson Tan and Felix Ng of

NewWave from Singapore, and of course

Malaysia’s own If Interactive, which had

showcased an interesting exhibition cum

installation entitled “Art with Sound”.

Together with the exhibitions, NAG had also

hosted a few components of the “Academics”

program of KLDW ’09, including the International Masters’ Master

Class with Nille Svennson, Nathalie Fallaha and Heath Nash, Malaysian

Masters’ Master Class with top design master William Harald Wong,

rising star Sanyen from If Interactive, and Hanzo Ng. The classes

conducted at NAG had successfully drawn a full-house audience, with

participants ranging from local students and design practitioners, as

well as international participants from Singapore, Lebanon and even

U.K.

With the abundance of creative talent and tantalizing output, it is

timely for Malaysia to make the Creative Economy as a national

strategy in highlighting the country on the design industry map of

the world. For the duration of 9 days, KLDW 2009 had done just

that, making an impact so strong that it had helped to inspire more

creative thoughts and works from within the Malaysian people.

William Harald Wong strongly voiced out his hope

during the press conference at National Art Gallery

for the KLDW 09, “The local creative industry has a

lot of talented small groups, not quite known groups

(of designers) that can be tapped. Malaysian society

doesn’t really care for local designers then they leave

(local design scene) and fi nd opportunity somewhere

else.” As a centre that always give support to the

art scene, we do hope that in future this prestigious

event will highlight and give more opportunities to

our own designers and artist.

KLDW 09, exhibited at various sites ended on the 4th April 2009. However, you may still visit the participants site

www.dragonsoft.com.my

www.genesisculture.com

terompahsurau.blogspot.com

outhapinessclothing.blogspot.com

www.ayakato.net

www.l-a-v-a.net

www.sagmeister.com

www.pipit.cccelsius.com

http://fl iptees.blogspot.com

05

Nathalie Fallaha’s observations of her society’s structures, languages and lifestyles are expressed through projects, which seek to visualize the environments that make up Lebanon. @www.vit-e.com

Zack Low, a Malaysian Chinese jewelery designer who born in Penang. He set up Laconic, a new local jewelery brand with handmade contemporary art jewelery design in year 2000. Zack and partner Cobain Foo study the elements from different fi elds, such as painting, literature, architecture, music, etc. and re-construct it into his new art piece. @www.e-laconic.com

The Barack Obama presidential poster designed by David Carson of U.S.A. @davidcarsondesign.com

`Art with Sound’ is a cross-disciplinary collaboration between designers and musicians from Japan and Singapore. The exhibition premiered in Berlin, Germany, at the DMY design festival, Shanghai, Tokyo and exhibited at National Art Gallery Malaysia. @www.dualcitysessions.com

The exhibition captured an exciting phase in Singapore’s culture as the island-state repositions itself as a new global design centre. It showcased the works of designers who are establishing themselves as part of the ``New Wave”. @www.blackdesign.com.sg

COVER ARTWORK : ARTIST

KHAIRUL AZMIRSHOIB A.K.AMEMEFind out more about Meme’s works at

http://verame.blogspot.com

or contact : memezareena@yahoo.com

06

Open Daily 10 am–10 pm. All are welcome.

w w w . t m s a r t . c o m . m y

TMS Art Centre I Managed By TMS Art Marketing Sdn. Bhd INo 301, Jalan Bandar 11, Taman Melawati, 53100 Kuala Lumpur. Tel +603 4107 5154 Fax +603 4108 5154 Email tmsart2009@hotmail.com

• PAINTINGS • BATIK FASHION, TEXTILES, ACCESSORIES • HANDICRAFTS • ART & CRAFT WORKSHOPS • ABORIGINAL SCULPTURES • BONSAI EXHIBITIONS

MENGENALISENI KHAIRUL AZMIR SHOIB(MEME)l oleh Hashimah Nyok

Menghayati karya-karya seni oleh Khairul Azmir

Shoib atau lebih dikenali dengan panggilan

Meme yang dipamerkan di Galeri RA Fine Arts dari

7 hingga 20 April 2009, seakan kita menjelajah dunia

fantasi yang penuh mimpi. Sedar atau tidak ia seakan

membawa kita ke suatu alam lain yang penuh cerita,

seakan rasa fantasi, seakan rasa diri kita dibawa

kepada watak-watak dalam olahan karyanya yang

begitu unik dan tersendiri.

Menurut Meme, fi lem-fi lem barat seperti Star Wars,

Alien, Lord Of The Rings, Alice In Wonderland dan siri

fi lem Harry Potter sebuah fi lem adaptasi dari novel

hasil tulisan J.K. Rowling, banyak mempengaruhi gaya

dan cara pengolahan serta ilham dalam karya-karya

ciptaannya. Bermula dengan minat tersebut Meme

telah bermula mengolah idea dan menjadikannya

karya visual yang menarik dan berbaur pasca gotik

yang sangat menepati intipati dalam dirinya.

Saya mengunjungi Galeri RA Fine Art baru-baru ini

dan menemuinya semula setelah sekian lama Meme

menghilang diri, apabila ditanya beliau mengatakan

bahawa himpunan karya-karya dipamerkan telah

dihasilkan selama 8 tahun dan dari situ dapat

ditafsirkan bahawa beliau telah menemui satu

kematangan dalam berkarya berbanding ketika mula

melihat karyanya ditahun 1997 ketika pertandingan

Bakat Muda Sezaman (BMS) yang dipamerkan di Balai

Seni Lukis Negara. Waktu itu Meme baru sahaja

bergelar graduan dari UiTM Shah Alam. Karyanya

bertajuk ‘Life Support’ yang hanya berjaya terpilih

untuk pameran Bakat Muda Sezaman 1997 ketika

itu menggunakan bahan besi yang karekternya mirip

alien (beberapa ekor alien) yang diletakkan di dalam

sebuah akuarium. Menurut Meme pengolahan karya-

karya awal selepas graduan sangat dipengaruhi oleh

Raja Shariman, yang merupakan pengarca yang tidak

asing lagi dalam perkembangan seni lukis Malaysia.

Sekiranya dilihat kembali sememangnya karyanya

menemui suatu perubahan yang ketara berbanding

dulu dimana pengolahan karya terdahulu diolah begitu

dominan dengan penggunaan besi dalam bentuk yang

begitu kuat dimana perwatakannya seakan sangat ganas,

jahat, hodoh dan penuh kegelapan. Namun kini karya-

karyanya berpewatakan kerdil, misteri tetapi comel

(cute). Bagaimana perubahan ini dilakukan oleh Meme

dan telah menjadikan karyanya tersendiri, unik dan

misteri.

Ada ketikanya kita seakan dibawa ke alam fantasi zaman

remaja yang penuh kebebasan tanpa ada kokongan,

karekter ciptaan Meme menerusi karyanya begitu

bersahaja, diolah sebegitu rupa tanpa larangan. Benarlah

kini Meme telah begitu selesa mencipta watak-

wataknya dengan lakaran-lakaran dari garisan yang

penuh yakin bahawa itulah yang dia ingini dalam diri

dan fi kirannya. Kanvas, dinding, bahan-bahan buangan,

kain yang dipilih(mengikut kesesuaian) seakan bersatu

dengan diri Meme sewaktu merekacipta watak-watak

dalam karyanya.

Dalam karya ‘Silent Night’ watak-watak rekaan Meme

seakan bercerita kepada kita tentang penghidupan

makhluk kecil dalam rimba fantasi, sedang menjalani

kehidupan dan malam yang begitu sukar, ditemani

lampu kecil yang dipegang oleh satu makhluk kecil,

sedang fi gura yang berbentuk seperti ‘Arnab’ itu dalam

keadaan yang sangat sedih seperti telah kehilangan

sesuatu atau mungkin sahabat atau mungkin juga

keluarga yang sangat disayangi dan disebelahnya dilukis

seorang rakan, suatu makhluk yang lain sedang cuba

menghiburkannya dengan nyanyian bersama rakan-

rakan lain yang juga makhluk-mahkluk kecil sambil

bermain alat muzik masing-masing disekeliling. Dan

nun jauh dibelakang kelihatan samar-samar sedang

memerhati dan begitu teliti, mungkinkah menunggu

peluang untuk mencari santapan malam? Karya-karya

ini bercerita seakan sebuah animasi ringkas namun

padat cerita dan pengajaran kepada khalayak. Inilah

yang menjadikan karya Meme istimewa, ciptaan

mahkluk atau watak dalam karyanya memberi makna

tersendiri dan membiarkan khalayak untuk memberi

interpretasi dan jalan ceritanya. Mungkin juga khalayak

berkongsi fi lem yang mereka minati dan menyelaminya

melalui karya-karya Meme. Ketika melihat karya Meme

kita teringat akan fi lem animasi barat seperti ‘Alice In

Wonderland’ atau fi lem ‘The Night Before Christmas.’

Mungkin agak janggal melihat karya Meme jika mahu

dibandingkan dengan karya-karya seniman-seniman

terdahulu dari Meme, yang disiplin dan gaya karyanya

memang berlainan idea dan cara berfi kir, namun karya

Meme mewakili era kini iaitu sebuah era yang akur

kepada tuntutan teknologi, multimedia dan mungkin

karya-karya sebegini dapat menembusi jiwa remaja-

remaja generasi baru era kini atau era kontemporari.

Fenomena tarikan ini tidak jauh berbeza sebagaimana

di negara Jepun dimana remaja-remaja yang gilakan

sesuatu yang ganjil tapi kawaii!

Apakah ini sasaran Meme? Apakah reaksi Meme

apabila melihat karya-karya konvensional seperti

Abdul Latiff Mohidin atau Syed Ahmad Jamal atau

seniman-seniman terdahulu, apakah Meme mahu

berkongsi dengan khalayak generasi baru/remaja atau

kanak-kanak agar lebih meminati seni lukis bahawa

senilukis itu boleh jadi penuh cerita dan fantasi seperti

yang digambarkan oleh Meme lewat karya-karya

pasca gotiknya. Apakah ini tujuan Meme?

Soalan-soalan ini bermain difi kiran ketika menulis

artikel ringkas ini dan melihat karya-karya fantasi

Meme, lantas soalan ini diajukan kepada Meme.

Beliau dengan senang menjawab bahawa beliau begitu

mengkagumi kedua pelukis tanahair tersebut yang

telah mencipta sejarah seni lukis Malaysia dan dia

cukup kagum dengan hasil karya mereka yang bersaiz

besar dengan sapuan berus serta pilihan warna yang

indah dan menarik.

Inilah yang mengasyikkan mengenai karya-karya

Meme, perasaan melihat dan mengalami adalah dua

pengalaman yang berbeza. Walau telah sekian banyak

karya-karya yang telah dihayati namun bila melihat

karya Meme, seakan kita melihat dunia yang lain,

menjejak pengalaman yang lain, dan untuk seketika

kita rasa diri kita seakan bermimpi jadi seperti kanak-

kanak, remaja dan seketika pula jadi dewasa dalam

alam fantasi dan misteri?

Silent Night, 2008, mixed media on canvas, 152 x 84 cm Pari-Pari Bermain Boneka Burung Hantu2009, Mixed media on canvas, 137 x 76 cm

Life Support, 1997, Instalasi, Mixed Media, Pameran Bakat Muda Sezaman 1997, Balai Seni Lukis Negara

We

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ome

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ight

2002

, Mix

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edia

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07

FEATURES

ISSUE #02

08

CANDY COATED : CUTE CONFUSIONl by Wening Cheah

differently to their own frustration/non-satisfaction/

depression (negative emotion). Common solutions to

frustration lead to a regressive behaviour; becoming

childish or reverting to earlier and more primitive

ways of coping with the goal barrier (Burger, 2004).

Being cute is one of the methods of dealing with

negative emotions; it is a cover up of their personal

nature and hides their emotion under a layer of

artifi ce (Kinsella, 1995).

After researching the connection between the

psychological and the cute culture, I have inspired

to curate an exhibition about these phenomena.

The “Candy Coated: Cute Confusion” art exhibition

was presented last year at Arts Alive Artspace,

Australia, and featured selected artists from Malaysia

& Australia. The infl uences of their diverse cultural

backgrounds contribute to each artist’s analysis of the

world they occupy.

The exhibition enabled artists to bring forward inner

emotions of frustrations and negative reactions to

be represented in the aesthetics of cute. What may

seem to be a pleasant sight of nostalgic memories

to art appreciators encouraged the other viewers to

consequent levels of understanding the story behind

the artworks.

Khairul Azmir Shoib a.k.a.

Meme’s works are meticulous

and delicate in their detail, yet

border on the darker side of

our nature. He is always keen on

creating his own creatures and

letting his imagination run wild

complete with their costume

and accessories. Meme’s art

represents his fantasies brought

to reality. Cute is often related

to ugly but adorable while

frustrations bring about the

feelings of being upset or annoyed due to the inability

to change the situation. The contradicting character

can be viewed as an alter ego; Darth Vader, cute

but very sad inside. Meme’s brilliant series of works

depict an obscure sense of expressions and bring us

face to face with our innermost memories we may

have long ago abandoned.

Sanguinarily versus plush and huggable, Cat-Rabbit’s

Cowboys and Indians bring to mind images of young

children running around with plastic guns and arrow

pretending to kill one another. Today, in this age of

terror, such games are not politically correct and are

no longer condoned (Catherine Badcock 2008, pers.

culture. The pursuit of the ascendency is the theory

of what I label as The Big World. The consciousness

of general public in Big World is connected intimately

with heroism, politics, successes or failures/ high

achievements and class consciousness, along the

line of high achievements full of motivational

characteristics. On the other hand, people who

are cute-worshipers are living in what I think of as

The Small World, and they engage in interpersonal

approaches. Apparently, their postulate fundamental

life-element is adolescency, laical, puerility, acceptant

and peace-seeking (Dennett, 1996).

Cuteness is not a functional property; nevertheless,

cute is a kind of defence mechanism. It is a

representation of an issue on a lighter note, which

allows room for forgiveness when certain things may

seem to be misinterpreted. Defence mechanisms

are psychological strategies brought into play by

individuals, groups, and even nations to cope with

reality and to maintain self-image. Being cute is to

soften up the tension. Cute is also used to close the

gap of subordination; as Natalie Angier (2006) of The

New York Times quoted Brian J. McVeigh saying, “To

soften power and relations, and present authority

without being threatening.” It is also an ideal mask for

someone to be a less threatening target. People are

often relying on sophisticated defence mechanisms

such as denial to ward off feelings of anxiety and

inward fears (Burger, 2004). These individuals are

working through adolescent genre issues projecting

cute and other immature behaviour (perhaps,

contriving to charm) to deny the existence of the

cruel reality; likewise, refusing to admit that the world

is not as beautiful as it is perceived to be.

The cult of Kawaii (Japanese for cute) is commonly

understood as a reaction to extreme pressure that

accompanies adult life in Japan. Kawaii members

seek a spiritual peace and escape from brutal reality

through cute things (Roach, 1999). Cuteness is

a simple distraction from our memories of pain,

avoiding or escaping reality. It uses appealing images

to wipe out our memories of painful, historical and

political realities (Newitz, 2007). Observed from this

perspective, cuteness is a kind of cultural decoy; a

soothing and simple distraction from a world with

boundaries where problems are becoming more

mind-bogglingly and complex by the day. As a means

to cope with psychological distresses, they continue

to rely on this defence mechanism, as a form of

escapism.

Most people react to this kind of experience with a

healthy amount of negative emotions. Individuals react

“That’s cute!”It’s a phrase that is commonly used in today’s society

and is uttered almost instinctively whenever we come

across something that is round, little, simple and/or

lovable.

Cute is a term that encompasses anything and

everything that is related to childishness, youthfulness,

innocence, harmlessness and physical attractiveness.

Cute is often characterized by a combination of infant-

like physical traits, especially small body size with a

disproportionately big head, large eyes, a small nose

or sometimes even without nose, round and soft body

features, i.e. Hello Kitty.

Since the 1970s, cute has become a prominent aspect

of Asian popular culture. It can be observed in fashion,

toys, behaviours and mannerism, personal appearances,

entertainment, commercial products and even in art.

The cultural trend has seemed to be overwhelmingly

cute in the Asian commercial direction, especially in

Japan. The other way around, ‘cute’ and ‘sublimity’ is

mutually exclusive in the aesthetics of the western

culture. The Asian sense of cuteness is radically

different from the Western aesthetic perception, which

is ordinarily associated with the sublime, enigmatic

and/or esoteric. Notwithstanding the fact that the

cultural differences between Eastern and Western,

the appreciations of cute had suddenly fl ourished and

reached the height of popularity in contemporary

global phenomenon. The pull of the cute is a powerful

and omnipresent force (Roach, 1999). Meanwhile, cute

is not only the word that we use in common, cute is an

uptrend. It is potency! But what is the substantiality of

cute?

The scholars and researchers at Harvard

University named this cute phenomenon as Cutism

(Massachusetts institute of Technology 2004). Cutism

is a major driving force to create new communication

Meme, CUTE, Mixed Media, 2008

Exhibition held at Artsalive Artspace, Australia in 2008

ISSUE #02

comm., 14 May). It gives us an astonishing feeling of devillish cute, it leads to

our questioning about the common perception of cute and reinforce us to be

concerned about the phases of child to adulthood of our children faces today.

Hopscotch is a cute children’s game that has been played since Roman times.

In some countries both ‘hop’ and ‘scotch’ are rather childish expressions

for ‘make a jump’. Debbie McGrath has raised a question through her

work Childish games: “If we don’t ‘make a jump’ from the ways of historical

exploitation to a symbiotic relationship with our planet, what will there be for

our children to inherit?”

Azliza Binti Ayob a.k.a Pol’s TUMPANG (To lodge) deals on the issue of space

and ownership. Out of fear of losing, we refuse to share. This artwork is

intended to break the barriers between artwork, artist and the galleries. Pol

‘planted’ couple of hundreds of her handmade mushrooms at carefully selected

locations that she judged represent goodness, fertility and power. Besides, Pol

also encouraged visitors to touch, pluck, and take home the mushroom for

keeps. It breaks the barrier of ownership and restrictions of art appreciation

space thus promote sharing and nurturing as a culture.

Shadow Play that Lucy de Vere Measures presents deals with the feeling of

uncertainly which creeps around the back alleyways of our mind. Things that

are part of our ordinary life’s routine but sometimes have slipped off our

mind that may cause havoc to the fl ow of living. These little annoyances pop

up suddenly causing paranoia and are represented by these creatures. The

creatures may look cute but they are far away from it.

The exhibition also showcased a selection of works from Findars and a few

individual Malaysian young artists showing the various ways in which artists

have conveyed feelings emanating from emotions of frustrations based on

their perception of cute. Artists engage in diverse media to explore the

substantiality of cute and its relationship to their past experiences.

In addition, ‘Candy coated: cute confusion’ presents an interesting set of

challenges to connect the cute aesthetics and current feelings, making the

pursuit of art the rare joy it can be. It aims to contradict the conventional

depictions of cute as merely cheerful, happy and pleasant thoughts. The

emphasis was not only placed on the physical attributes of the works that

make it attractive or repulsive to highlight the aesthetics of cute, but also

on connotations of the art work. This exhibition explored the psychological

exploration of the frustration against the sociological character of cute.

Despite the appearance of cuteness what this exhibition has allegorized is

the constant process in relocation ourselves within the myriad of worldly

appearances.

References

Newitz, A 2007, ‘Cuteocracy: The Apotheosis of cute’, Lilith-Ezine.

Burger, JM 2004, ‘The Freudian Approach’, Personality, Wadsworth, 6th edn, pp. 79-83.

Dennett, CD 1996, ‘Facing Backwards on the Problem of Consciousness’, Journal of Consciousness Studies, 3, No. 1, pp. 4-6.

Roach, M 1999, ‘Cute Inc.’, Wired, issue 7.12, December.

Angier, N 2006, ‘The Cute Factor’, The New York Times.

Kinsella, S, Skov, L, Moeran, B 1995 (eds), ‘Cuties in Japan’, Women Media and Consumption in Japan

Massachusetts institute of Technology 2004, MIT Anime Club Showing Announcement, 16 April, Massachusetts institute of

Technology, viewed March 2007, USA, <http://web.mit.edu/anime/Showing-Announcements/2004/2004-04-16>.

Tomoyuki, S 2006, ‘Love for Cute Has Japan Soul-Searching’, CBS News, 14 June, viewed May 2007, <http://www.cbsnews.com/

stories/2006/06/14/2p/business/mainD8I839SO0.shtml>.

Cat-Rabbit, Cow boy & Indiana, Mixed Media, 2008

Azliza Ayob, Tumpang, Paper clay and acrylic, 2008

09

‘Candy coated: cute confusion’ challenges established

values to question the meaning of art itself against

conceptual understanding and the cute appearance.

The exhibition simultaneously deals with the position

of aesthetic perception of cute in today’s world,

alongside the ever growing commercializing intention

and the phenomenal impact in contemporary art.

PASSING

PETER HARRISl by Yeoh Jin Leng

Peter Harris, MBE, passed on at the Swindon

Hospital after a short illness on 14 th March, 2009.

He played an important role as art educationist and

artist in this country, developing interest in art as an

important subject for bringing about emotional and

intuitive maturity through the sensitizing of feelings and

the acute and keen observation of visual phenomena

of our physical world. Art

plays that role with the

employment of an invariable

complexity of line, space,

colour, texture and form.

Going a bit earlier in

time, a phenomenon of

the post-WW II years

in British Malaya was

the two fold increase in

the number of children.

There were not enough

schools, no teacher-training

institutions, art colleges

nor universities except the

University of Malaya. The

urgent need to provide

education of growing

children was of prime importance for

the British Administration during that

period. To overcome the shortage of

teachers, the MalayanTeachers College

at Kirkby, Liverpool, was established

and subsequently, another, the Brinsford

Teachers College at Wolverhampton.

The Specialist Teachers Training Institute

at Cheras was created to

provide one-year refresher

courses for teachers

with fi ve years’ teaching experience.

Peter Harris’ invaluable contribution as

Supervisor for development in the fi eld

of art and art education is unquestionably

important.

He came out to Malaya in 1951 and

became Superintendent of Art. His most

enduring contribution to the future

of Malaysian art and artists was when

he formed the Wednesday Art Group.

He was also instrumental for the Art

Education division of the Specialist

Teachers Training Instituite at Cheras,

There were no Art Colleges or Art

schools then. The institution known as

STTI provided opportunities for the

pioneer Malaysian artists to come about

in this country. The better graduates

of STTI received federal scholarships

to further their art studies abroad and were to play

important roles as lecturers at the Institute Technology

Mara and the School of Art of the Science University in

Penang. Many of them have become prominent fi gures

in the art world in Malaysia. The rest in relation to the

artistic development in this country is history.

I was in the fi rst batch of 150 student probationary

teachers sent to Kirkby in 1951, and on my return

in 1953, I was posted out to Kuala Terengganu to

teach.at the Sultan Sulaiman Secondary School. I had

no idea what was happening in the federal capital of

Kuala Lumpur. I had no awareness of the Wednesday

Art Group or who Peter Harris was. I met him the

fi rst time in 1957 when I went to Kuala Lumpur for

an interview in connection with the fi rst federal

scholarship created by the government for Art studies

in England.

I had brought along some art work of the children I

taught, including the exquisite mat-work, the wood-

carving, the songket weaving and the colourful kites

(waus), traditional crafts learnt from their parents

and done in the kampong in those days. Having laid

the work on a side table, a tall Englishman strode up,

looked at the crafts and told me straight in my face

that they were not art. I had taken two days traveling

by bus, crossing seven ferries in Terengganu, and an

overnight stop in Kuantan to Kuala Lumpur. I barked

back with annoyance and a huge argument ensued

between him and me over what was art. Was there

no art merit in the lovely patterns, the textures and

colors of traditional craftwork done by the children?

What was painting to these children in the kampungs?

The argument went on to dwell on

modernity and tradition. Mr. Hunter,

the head of the panel, eventually calmed

me down and got me to take the seat

placed in front of the panel members. He

knew me well as I played Rugby when I

was a pupil of the Anderson School in

Ipoh. He asked members of the panel for

questions. A silence gripped the room.

There was none, and I was excused, so

I collected my things, banged the door

after me, and caught the bus back to

Kuala Terengganu.

Three months later, the Headmaster

told me that I had been awarded the

scholarship. The Malayan Students

Department in London enrolled me at

the Chelsea School of Art instead of the

Art Education Department at Corsham

in Bath. I accidentally became an artist

and that’s another story.

Through the proposal of the late Zain Azraai, Wan

Gallery organized an exhibition of the Wednesday Art

Group created by Peter Harris. I curated the show

held in 1996. An exhibition for Peter Harris for the

following year was suggested, and we eventually found

him living in a little quaint town called Malmesbury

between London and Bath. My wife Diana and I stayed

with him for a week. I had the opportunity to look into

the hundreds of drawings and oil-crayon paintings and

selected about 200 for the exhibition scheduled for

October, 1997 at Wan Gallery. He had a poor pension,

had overcome cancer and could not afford to come

out. I selected 10 of the best and gave him RM 10,000,

a lot of money to me, to travel out, stay with us and

have the exhibition. We became good friends and he

came out twice to stay with us. He gave my wife Diana

a stash of twenty drawings. I told him about Dr Tan’s

Art Gallery in Penang and he had an exhibition there

subsequently. We never saw him again after that.

When I found him after thirty years in Malmesbury,

there around the house was a beautiful collection of

traditional Sabahan hats and an exquisite variety of

crafts. Thinking back, was not this man with whom

I had that huge argument at the interview on the

artistic merit in traditiuonal crafts? After reading his

thoughts and his writings, on hindsight, he was without

doubt testing what this dumb art teacher from Kuala

Terengganu had in mind about art. Of course he did

not know that the rebel had some idea after visiting

the museums in Paris fi ve occasions during the teacher-

training course at Kirkby. On another occasion, he

had cycled across Switzerland from Bern to Geneva

and across the Alps to Lyon, then all the way to

the Mediterranean via Avignon, Toulouse, Arles and

Marseilles to visit many museums and art galleries. He

had also traveled extensively in Italy to visit museums

in Venice, Rome, Naples, Florence and Milan on an

earlier trip to have an understanding of the Renaissance

Movement that swept across Europe.

It is interesting to note what he had said, quote;

“All art must be infl uenced by the general

culture of the age and of the environment in

which the artist lives.”

Mount Kinabalu - The River and It’s Source, 1996, Oil on wood Panel, 190.5 x 106cm, NAG Permanent Collection 2003-104

Joget Moden, 1959, Cat Minyak, 140 x 90cm, NAG Permanent Collection:1959-049

Peter with Jin Leng’s wife at Puan Sri Rosaline Foo’s house in Cameron Highlands

Peter Harris sketching in Cameron Highlands

ISSUE #02

10

He said “in a letter to Jin Leng” that he once went to

see an exhibition in the Museum of Modern Art in

Tokyo thirty years ago and hoped to see “stimulating

works developed from the gorgeous artistic conditions

of Japan.” What he saw were black canvasses. “The

press loved it.” “The artist had been taken over entirely

by the nihilism prevalent in the growing decadence of

the West.” He detested the commercial modern Art

world “promulgated by commercial galleries.” On that

note, he said that “Contemplation is unfashionable

now. Immediate impact is wanted, in music, in poetry,

literature, theatre, television…..With the eastern

traditions of contemplation and the boundless richness

of Indian, Chinese and Moghul art, one hopes to

fi nd in Malaysia a new, rich, world inspiring artistic

development…..The huge optimism, energy, and

prosperity of the East should offer far more than the

pessimism and decay of the West to the young artist.”

Regrettably, the contemporary situation of what we call

Malaysian Modern Art or Post Modern Art is partly a

result of the modern Isms brought back from the West

by art students, and partly is connected quote with

“the snobbery displayed by the self-styled connoisseurs

mediating on pure aesthetic pleasure. It can be

likened to a role played by arrogating to themselves

the creative power of God”. Or (“sign of psyche in

Modern and post-Modern Art.” - Donald Kuspit.. 1990,

Cambdridge U.P.), it could be just plain ignorance of

artistic creativity and its evolution in artistic terms. It

is but a narcissistic need to believe in just the ‘pure’

creative act, ignoring the enigma of the unconscious

forces expressed through symbolism from within the

psyche. The need for rootedness and transcendence is

passed over. The growing decadence in Modern art is

that it is not about art or modernity at all. What rules

today is money, and he was very much aware of the

situation governing artistic production today. That he

had expressed 12 years ago in the letter to me. “The

commercial Modern art world is outside my sphere

of enjoyment,” he said. He came to contribute his

expertise, encouragement and enthusiasm throughout

the Malaysian school system.

Jin Leng

9th April 2009

EXHIBITION HIGHLIGHT

Han Eagels has specialized in architectural

photography for the past twenty years.

His work runs the gamut from historical

subjects to contemporary developments in

visual culture. His photographs have been published in numerous

books and magazines and have appeared in international exhibitions.

“Seeing the restored Master’s house in Dessau, I was inspired to search for

examples of Bauhaus architecture at other sites, both known and unknown.

As I entered into discussion with experts in the fi eld, I realized that no one

had compiled a comprehensive overview of all existing Bauhaus buildings –

and thus began my search, fi rst in the archives, then on the road.

It might be necessary to defi ne what I mean when I stay “Bauhaus

archictecture”. The buildings featured in this exhibition were designed by the

masters, teachers and students of the Bauhaus, as well as by the members

of Walter Gropius’s architecture offi ce. They span a time period beginning

with the foundation in Dessau by National Socialist regime in 1932, to its

fi nal dissolution in Berlin one Year later.

It is the intention of this exhibition to offer a balanced documentation

of known and forgotten buildings, of restored, converted and dilapidated

exponents. It is my hope that this will help to create a more complete and

informed image of Bauhaus architecture in the eyes of the public. The initial

idea of documenting architecture grew into a beautiful and rewarding task.

This is mostly due to the people I encountered in the course of my travels,

many of whom I was able to win over for this project”.

Yeoh Jin Leng‘The Valley Below Peter Haris’s House in Malmesburry1998, oil pastel on paper, 29 x 20cm,Artist collection

11

SHARING

THE VILLAGE NEXT DOOR: COMMUNITY ART+LIFEl by Simon Soon

P articipation in community life, through the creation of meaningful artistic

practices that is able to mobilise a local public, is an important aspect of

their practice for a number of contemporary artists who reside in Jogjakarta.

The idea of a ‘gerakan sosial’, or a social movement, means that art is often

framed by how relevant it is to society.

Ideally, artists who have succeeded in making a career out of their practice

should always contribute something back to the community. After all, it is the

community, by and large, that has supported

many of them through the early years of their

being struggling artists.

Jogjakarta is a concentrated urban kampung

where people from all over Indonesia come to

pursue their higher education. Many stayed on to

work in Jogjakarta after completing their studies

and have relied on a support network built on

friendship more than kinship. It is therefore

unsurprising that this constructed sense of

belonging, which is not based on bloodline,

is also not one that is based primarily on the

notion of exclusivity. Although it cannot be denied that cliques and pocket

groups do exist, there are also many movements in the Jogjakarta art scene

that have strategised their programmes and ideas about the commmunity to

be as inclusive as possible. Many projects have also looked beyond the arts

community by working beyond this exclusive framework, looking at the ways

in which other communities can be engaged.

One of them is a year-long project spearheaded by Samuel Indratma in 2008.

Samuel is well recognised as one of the seminal founders of the Apoktik

Komik group, along with Bambang Toko, Arie Dyanto, and Popok Tri Wahyudi.

Formed after the Indonesian Reformasi during a time when contemporary art

in Indonesia underwent an immense period of creative growth, the collective

became a catalyst in the mural art movement that have transformed the city

into a vibrant and living art space.

Taking engagement with society to another level in his most recent project,

Samuel played the role of a facilitator in many public-minded programmes

that are aimed at aestheticising communal and very local spaces, especially the

kampung communities that surround the buzzing township, with the objective

of generating a sense of collective ownership and responsibility in these spaces

through collaborative involvement.

My personal favourite among the programmes that were run are the

workshops on signage. Whether they are made for directional purposes

(street signs), as indication of public facilities (public toilets, security fee

collection bowl, etc.) or public messages (‘Jaga Kebersihan’/’Keep This Place

Clean’), these signage are the fruits of the collective effort by a community

inspired to respond to their shared spaces in a creative manner. Rather than

imposing a creative vision onto a group of people, these workshops actually

offer an opportunity for the local residents to come up with an aesthetic that

best represent and express their own vision of a neighbourhood based on

their experiences.

Another project that ran in tandem was an extension of the mural art

initiative that was central to the the Apoktik Komik collectives in the early

2000s. This time, Samuel has chosen to collaborate with skilled artisans of

different competencies and who are all professionals in their own fi eld. They

include a painter/craftsman who paints on glass, a stage designer for traditional

Javanese theatre, a shadow puppet maker, a souvenir painter who decorates

disused ‘becak’ (trishaw) hub caps and many others.

The programme entails magnifying the ideas and ability of these skilled artisans

on a mural scale. The result can be read as a statement of, a homage to, or an

acknowledgment of their unsung contribution to Jogjakarta’s creative pulse. It

is un-monumental in a sense that it does not seek to praise or wax lyrical on

a level that puts these artisans up on a pedestal needlessly. Instead, when their

achievement shine through, it came through their bravura and display of talent,

communicating more effectively on how artists or creative individuals can

change the way we experience our communal spaces as well as highlighting the

continuous role they play in shaping Jogjakarta’s creative economy.

In many ways, it is not so much the democratic (and participatory) gesture

inherent in Samuel’s community projects that make them such appealing and

inspiring accomplishments, after all this is merely a form - it might work very

differently in another context. I think it was the willingness of the community

to play an active part in the programme that says a lot about what sort of

ideas these people have in their commitment to the project; and when they

use the word ‘komunitas’ to describe themselves as compared to the looser

ways, those of us who live in urban centres, understand what it means to be a

part of a community, let alone describe what community really means.

Last but not least, another mural project initiated on a kampung-wide level

completes the project. Working with residents in up to 10 different kampungs,

Samuel managed to psyche up both adults and kids into getting involved in

treating the walls that run along their neighbourhood as a huge public canvas

for mural paintings of all kind. Many of these participants actually have day jobs,

or for the kids, school. Still, residents often come together after a hard day’s

work and paint late into the night.

12

Whether the street signs are made for directional purposes, as indication of public facilities (public toilets, security fee

collection bowl, etc.) or public messages (‘Jaga Kebersihan’/’Keep This Place Clean’), these signage are the fruits of the

collective effort by a community inspired to respond to their shared spaces in a creative manner. ISSUE #02

ARTIST IN RESIDENCE

13

BEING RICH IN PENANGl by Sharon Chin

A few months have elapsed since the end of my residency in Penang.

Under the RBS-Malihom Artist-in-Residence Program, I lived and

worked there from the end of August to December last year. I look back

on that time with a strange mix of emotions. Like many KL-ites, I get

sucked into the city vortex and forget that Malaysia is more, much more,

than the confi nes of Klang Valley, with its shopping malls, highways and

apartment complexes. Penang may only be a 3-hours drive away, but it

feels like another world entirely. Perhaps this is even more so because it is

surrounded by water. Malihom is a luxury private resort situated at the top

of Bukit Penara, in Balik Pulau. The artists, however, live in separate quarters

somewhere halfway up (or down) the hill. While accommodation is basic,

the setting is immensely beautiful and serene. One is surrounded by lush

greenery, and I will never forget

the time I spotted a lone fi refl y

in my room before I fell asleep.

Unfortunately, it appears to be

in the genes of artists to be

discontented wherever they are.

Having escaped the rush of the

city, I now found myself deprived

of stimulation and human

contact.

My time at Malihom forced me

to confront my values about

art making. The opportunity

to create work away from

the hustle and bustle of daily

life, without needing to worry

about fi nancial concerns (the

program includes a monthly

stipend of RM2000), seemed

like a dream come true. Yet I

struggled to make sense of what art means when it is produced in such

isolated conditions. Who is the audience? What is the artist’s role in society?

Days passed, one glorious sunset followed another, and I spent many hours

mulling over these questions with fellow resident artist Gabrielle Bates.

Meanwhile, the pressure to create new work mounted.

My work has always responded strongly to my surrounding environment.

I believe that art arises from social conditions. It refl ects the complexities

and textures of living, weaving together relationships, contradictions and

confl icts in an infi nite array of patterns. That is why the seclusion at Malihom

eventually began to cause me great anxiety. I missed being part of a social

community where art was my form of communication and engagement.

Things began to turn around when I spent more time exploring the rest

of Penang. There are still many pockets of authentic life and expressions

of culture that have not been overtaken by the homogenizing effects of

consumerism. I remember being completely disoriented during my fi rst

few visits to Georgetown, because I couldn’t keep track of different streets.

In trying to pinpoint why, the reason hit me like a bucket of cold water:

so accustomed was I to using places like KFC, McDonalds, Starbucks and

various banks as landmarks, that, without them, I had trouble navigating!

About halfway through the residency period, I was lucky enough to get in

touch with Janet Pillai and Chew Yoke Pin of Arts-ED Penang, which is a

non-profi t, community arts organization focusing on education and cultural

programs for young people. Together, we organized two workshops for

school kids from Balik Pulau, one on collage and the other on animation.

Gabrielle and I were exploring these mediums respectively during our

residency, and it was both inspiring and humbling to see how young people

approached subjects close to our hearts. So much of what is exciting and

enriching in art originates in the ability to let go and play. For children this

is as natural as breathing, but as we get older, it becomes more and more

necessary to remind ourselves. We were so blown away by what the Balik

Pulau kids produced that we ended up showing their works alongside our

own at the fi nal residency exhibition.

I am grateful for my experience with the school kids because it allowed me

to feel connected with the local community. I think it was from that point

onwards that I began to have a clearer idea of what I wanted to do with my

time in Penang. Different concerns started to come together. One was the

geographical landscape of Penang as an island surrounded by water. Another

was a Penang-based UMNO politician’s comments about pendatang, or

immigrants, in Malaysia. From Malihom, one can see the sea in the distance,

but it was awhile before I found the road to access it. This search for the

sea turned into a day-long project which involved driving around Penang

shooting mobile phone videos of the sea from 12 different locations.

These eventually became the basis for a series of works called Pocket Seas,

which consisted of the frames of each video printed on the pages of old

dictionaries I found at Chowrasta market. I called the show ‘Pendatang /

Arrivals’. The exhibition was an exploration of what arrives with people

when they cross seas to reach new lands. I felt it was important to say that,

at some point in time, we were all pendatang…

My residency experience was an interesting one. I think Malihom is a

peaceful place to execute work you have already planned to do, but for

me, the sense of isolation made generating new ideas a real challenge.

Furthermore, it seems to me that too much emphasis on creating work as

an outcome for a residency overshadows other equally (some might say

more) important goals like research, exchange and dialogue.

Speaking as a KL-ite who has the city in her bones, Penang is truly an

amazing place to create art. It is rich in every way: be it cultural, historical,

social or geographical. I hope this residency will continue to develop and

attract more artists who can partake and add to this richness.

Pocket Seas Series 1.Pantai Pasir Panjang. 8.30 AM. Indonesian, 2008.

Hand drawn map (graphite, color pencil & charcoal on paper), wooden

box, old dictionary printed with images transferred from mobile video

phone.

Filming the sea around the coast of Penang.

EXHIBITION HIGHLIGHTS

14

THE ART OF VISUALIZING SALINA

For decades the novel Salina written by Datuk Dr. A. Samad

Said, National Laureate, in the 50s which depicted the

strive, the struggles and dilemma faced by post-world war

two community in Singapore, had been chided as being too

liberal in presenting the life of a prostitute. The novel had in

the past been deemed unsuitable for students of literature in

Malaysia while the Malay literature students in Singapore had

access to it. As elaborated in the foreword of the 1999 Salina

abridged version, some considered the novel too ‘thick’, too

‘heavy’ and too ‘adult’. For it being too thick, many discussed

the book without reading it, for it being too heavy, many left

it half way. And as it was too adult, it seemed to be off limits

to the young. Hence when in late 2008, Noor Azizan Rahman

Paiman assigned a group of youngsters, fi nal year art students of

UiTM Seri Iskandar, Perak the novel Salina and let them loose to

interpret the work at their heart’s content, an interesting array

of expressions emerged.

The emergence of the abovementioned needed to be vouched

for, appreciated and documented in many ways than one. The

National Art Gallery (NAG) was invited by the art school to

be a member of the panel (alongside Nurhanim Khairuddin and

the great literature grandmaster A. Samad Said himself!) whose

role was to appreciate the efforts of visualizing Salina. One

fi ne Tuesday, the 7th April, NAG journeyed from the mundane

trappings of our curatorial offi ce to the uncharted vista of an

emerging art generation who had been under the tutelage

of renowned fi ne artists including Aznan Omar, Noor Azizan

Rahman Paiman, Daud Abdul Rahim and Syed

Alwi .

With Paiman as the Chairman, the panel

agreed that the exhibition was a noteworthy

effort following many other earlier efforts by

fi ne artists who had engaged or alluded to

visualizing a novel, a poem or any other form

of literature, namely partnerships like Syed

Ahmad Jamal & Kassim Ahmad, Sulaiman Esa

& Samuel Beckett, Ibrahim Hussein & Chairil

Anwar, Zulkifl i Yusoff & Sir Frank Swettenham.

The array of images depicted by the students

veered more towards illustrative styles. Caricaturist portraiture

and character portrayal of the prostitute -woman archetype

seemed to be the favourite mode of interpreting the novel. A

Samad Said himself trained in art by a teacher in Singapore

and today produces artworks, ink drawings which are highly sought after by some

collectors, felt that the artists were a bit raw and mentioned the possible reason

for that being their lack of life-changing experience, hence the expressions seemed

defi cient as he said, “anak belum merasai terhumban dalam hidup …tidak seranum

diharapkan”. Najwa Zulkifl i exceeded expectations by creating a large size

‘fl y’, and the more outstanding and memorable pieces were produced by Julia

Mohd Zin, Nur Nifaisa Radzi, Ahmad Hamzah, Abdul Azim Zulkiofl i, and Nor

Mashita Abd Sukar.

Many were lulled by the seduction of their untamed perception of Salina,

the prostitute. None had ventured to see how Salina could be easily misread,

i.e. misunderstood. Perhaps A. Samad Said summarized it succinctly when he

parabled his novel Salina to a painting, in the paragraph of his 1999 foreword,

summarizing how he had been edited by

several of his colleagues, including the great

Keris Mas as he declared “The painting

which was misunderstood seemed to be

merely words untamed”.

BERTEMU SALINA, an exhibition of selected works of the fi nal

year sudents of the December 2008 session of the Fine Art

Programme, exhibited at the Galeri UiTM Seri Iskandar, Perak.

The exhibition is certainly worth a visit but unfortunately runs

only from the 6th of April until the 6th of May 2009. Please

forward enquiries to aiskirim@gmail.com

ILHAM 2009 Menampilkan karya

kreatif oleh para pensyarah

Fakulti Seni Lukis & Seni Reka

(FSSR) Universiti Teknologi MARA

(UiTM). Pameran hasil gabungan

kerjasama UiTM dan Malaysian

Industrial Development Finance

Berhad (MIDF) telah berlangsung

dari 28 Mac hingga 8 April 2009

bertempat di Menara MIDF, Jalan

Raja Chulan, Kuala Lumpur.

ILHAM adalah singkatan dari Ilmu

Lahir Hanya dari Allah yang Maha

indah. Justeru ILHAM menyanjung

tinggi tradisi keilmuan sekaligus

penghayatan keindahan. Tradisi keilmuan dalam konteks seni lukis dan

seni reka pula merujuk kepada FSSR sebagai perintis dan pelopor

pendidikan formal seni lukis dan seni reka di perinkat pengajian tinggi

di negara ini.

ILHAM 2009 boleh dianggap sebagai gagasan dan kesinambungan

usaha memupuk jiwa dan minda pelukis serta penghayat dalam usaha

menghasilkan, menghayati dan mendalami falsafah seni dan keindahan

itu sendiri.

ILHAM yang dianjurkan hampir setiap tahun dan telah diperkenalkan

sejak tahun 1987, menjadi platform kepada warga akademik FSSR

untuk berkarya serta berkongsi penemuan dan pengalaman baru

mereka disamping mengetengahkan kepakaran, kreativiti dalam

menyemarakkan seni dan budaya Malaysia.

http://www.ad.uitm.edu.my

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ISSUE #02

Bertemu Salina 1: Gambar muka depan kateloge pameran

Arca, Najwa Zulkifl i

Catan, Julia Mohd Zin Lai

BSLNPROGRAMS AND ACTIVITIES

15

Arts, Culture and Heritage Malaysia and National Art Gallery, Malaysia and the pioneer project initiated together with The International Trade and Industry, is a quantum leap for us to allow for the development, engagement, appreciation and mutual understanding of cross cultural art and traditions. It offers the opportunity to promote bilateral exchange and dissemination of cross cultural art. Within this conducive environment, innovative and thriving artistic and cultural minds can be nurtured and continually developed amongst the organisers and the audience.

The aim of this exchange is to strengthen the bilateral relationship and provide communicational and educational benefi ts to participants and audiences in both countries by increasing cultural awareness and respect, indirectly enhancing cultural and artistic quality and understanding of both countries.

The three-day exhibition, organised by the Malaysia External Trade Development Corporation (MATRADE) with the support of the Dubai Chamber of Commerce and Industry, and Dubai Export Development Corporation, showcases a range of world-class professional services from Malaysia, especially services critical to the sectors seen to be drivers of economic and social change in the Middle East, North Africa and CIS.

MSE 2009 follows the success of the fi rst such exhibition held in Sharjah in 2008, with 168 companies representing 11 industry clusters. This year’s event is attended by over 200 service providers from 13 clusters - construction, engineering, fi nancial services, healthcare and hospital-related services, ICT, oil & gas, education and specialized training, energy and power generation, logistics and transportation, professional services, franchising, design and art.

Being its maiden participation with MATRADE with 5 other Malaysian Art Galleries ( RA Fine Arts, ThreeHundredSixty Art Gallery, ArtSeni, City Art Gallery and Espi Fine Art Gallery) this is Indeed a new experience us to participate in the Malaysia Services Exhibition (MSE). Good contacts were made over the exhibition. However, the potential clients for art in MSE are very limited, as the scope of exhibition were too broad. Thus, it did not cater specifi cally to art lovers/ collectors, as the market for art is very much a niche market. Therefore, visiting Art Dubai 2009 gave us art opportunity to identify the response and determine how Malaysian art services can compete with other services in this fair.

GLOBAL ART FORUM

The NAG reconaissance of the rest of Dubai started with the Global Art Forum in Islamic Art Museum in Doha, with a strong focus on Middle East culture and its interaction with the international art community. More than sixty of the art world’s leading personalities gather in Doha and in Dubai for the 3rd edition of the Global Art Forum. First launched in March 2007, the Global Art Forum brings together artists, curators, museum directors, and art professionals to discuss pressing issues that affect art today and which will defi ne its future.

This year, from the 18th - 20th March, the Global Art Forum returns to its home at Art Dubai for three days dedicated to legendary artists, collectors, curators and fi lmmakers as well as some of the most exciting art projects from around the globe. On the fi rst day leading museum directors and curators participating the forum examined the relationship between the public and the museum through topics such as Building the Museum, The Future of the Museum and Creating Spaces: Cultural Development and Art Practices. Day two, the 18th March, is supported by DCAA (Dubai Culture & Arts Authority), begins with Good Morning

Russia and discusses the vibrant and unique art scene in Moscow. Is Collecting a Statement or a Cause? More and more collectors are shying away from iconic collections and are working actively hand in hand with artists, curators, institutions and other collectors to help produce

works of art, education programmes, and making art accessible to the public. DCAA also presented: Press Announcement ‘Opening’ by the UAE Pavilion for the 53rd Venice Art Biennale. 19th March and this was hosted by ADACH (Abu Dhabi Authority for Culture & Heritage). The programme focused on key issues that are driving the projects of the Authority forward starting with Contemporary Culture and Living Tradition. The mission of ADACH is Cultural Diplomacy from the Perspective of the Arab World as a Constructive Conversation with the West. The fourth day, 20th March, began with Brave New World: The New Deal in the Art World. In the current economic climate, artists, curators and collectors have to seek and secure new deal in terms of getting signifi cant artworks produced and exhibited. The harmonious alignment of public and private initiatives are the essence, and the way they are initiated, managed and communicated were keys in rebuilding trust in the art world. During the offi cial visit of H.E. Dato’ Muhammad Shahrul Ikram Yaakob, Ambassador of Malaysia in Doha, Qatar, the NAG DG, Dr Mohamed Najib Ahmad Dawa

THE BEGINNING

The idea to promote art together with MATRADE was initialised by Tan Sri Muhyiddin Yassin, the Minister of International Trade and Industry at that time, during his visit to launch The Art Expo Malaysia in National Art Gallery (NAG) on 11th November 2008. Looking back at how Art Expo Malaysia was held in MATRADE and had secured sales and orders worth RM5.3 million within 5 days, it is clear that MATRADE is the vital platform to promote Malaysian Art internationally. This idea was materialised at Malaysian Services Exhibition - MSE 2009, 17-19 March, organised by MATRADE in Dubai recently. This show was an indication of how serious NAG is in aggressively promoting art as another “commodity” worth exporting.

Her Excellency Sheikha Lubna Al Qasimi, UAE minister of Foreign Trade and the Honourable Tan Sri Muhyiddin Yassin, the Minister of International Trade and Industry in Malaysia inaugurated the Malaysia Services Exhibition (MSE 2009). The opening ceremony was attended by diplomats, senior trade offi cials and prominent businessmen from GCC and neighbouring region as well as Malaysians including His Excellency Dato’ Yahaya Abdul Jabar, Malaysian Ambassador to the UAE.

This project is fully supported by the Ministry of

MALAYSIA ART GALLERIES(MAG) UNVEILS ART SERVICES SHOWCASE IN MALAYSIAN SERVICES EXHIBITION 17-19 MARCH MSE 2009, DUBAI, UNITED ARAB EMIRATES l by Faridah Hanim

Dr Mohamed Najib Bin Ahmad Dawa Presented ‘SUSURMASA’ to HH Sheikha Lubna Al Qasimi, UAE Minister of Foreign Trade and being witmessed by YB Tan Sri Mahyuddin Bin Yassin

Left to right: Nazli Aziz -Three Hundred Sixty, Ahmad Khairo Othman - EspiFineArt, Philip Wong, ArtSeni; Ch’ng Huck Theng, Member of Board of Trustees, NAG; Faizah Elis ThreeHundredSixty; Norwina Binti Khalil RA Gallery; Norbaidah Ambak NAG; Norhafi zah Ahmad Nasaruddin; Raja Ahmad Aminullah Raja Abdullah; Dr Mohamed Najib Bin Ahmad Dawa DG of NAG; Faridah Hanim Abdul Wahab NAG; Pojinn Sim City Art Gallery; Faisal Ghazali Three Hundred Sixty Art Gallery.

ISSUE #02

and Mr Ch’ng Huck Theng, member of Board of director presented the book SUSURMASA. The discussion touched on some issues including ways to promote Malaysian art in Doha initiated by having an Art reception in the Embassy of Malaysia in Doha in the end of this year.

DUBAI ART FAIR

Leaving Doha for Dubai on the 16th March, we arrived and were greeted by Mr. Raja Ibrahim Raja Mamat, Vice Consul from Consulate general offi ce in Dubai. Dinner invitation with the delegation and Malaysian Consul General and his wife, Mr. Syed Mohd Hasrin Tengku Hussin and other offi cers at Madinah Jumeirah Beach Hotel.

With two-thirds of participating galleries coming from abroad, Art Dubai 2009 has stamped its mark as a leading international fair. The event attracted several major museum directors and facilitated signifi cant new collaborations with regional art centres such as Doha, Sharjah, and Abu Dhabi. At the same time, few of the delegation members; ThreeHundredSixty, RA Fine Arts, Art Seni and City Art Gallery managed to visit The Sharjah Biennale at the Sharjah Art Museum as a part of the visit program. We observed how art had been celebrated across Dubai this week, from the heritage area of Bastakiya to DIFC and the Madinat Jumeirah. The main hall, galleries participated responded to the challenges of the world economy with well considered exhibitions of exceptional quality confi rming the resilience and adaptability of the contemporary art market both internationally as well as in the Middle East.

“Discovery was a crucial theme of this year’s fair – galleries brought a wide range of new artists into the market and collectors reacted extremely positively to this mix of new names and new works.” Oliver Watson, Chief Curator Museum of Islamic Art, Doha.

The Malaysia Galleries must be able to participate in such international art fair. It helps to position gallery internationally and attract new buyers. This is the fi rst time we realized Malaysia is potential at Art Dubai. We are impressed by the fact that ThreeHundredSixty made to sales, one was made to Royal collector. The artwork sold are Raja Shahriman Raja Aziddin and Abu Bakar Idris.

MAG could have done with a few more sales but considering the current climate, the result was good. We made wonderful contacts at this perfectly run exhibition. MAG considered attracting new clientele in different industries while making new contacts and building relationships with buyers in the UAE and abroad. Among the note worthy sale highlights from the fair included: New York-based gallery Goff + Rosenthal’s,

featuring pieces by Iraqi-born artist Ahmed Alsoudani, sold out Athr Gallery from Jeddah sold the majority of their works on their debut at Art Dubai Sfeir-Semler gallery, with branches in Lebanon and Germany, sold pieces to both American museums and European collectors Beirut-based Agial gallery, sold more than 80% of its pieces Buyers took their pick of Andy Warhol’s depiction of cars, sold for $1.95 million, photographs by famous Iranian artist Shirin Neshat for more than $300,000, and a Julian Opie piece for $62,000. This year’s event, which rans until Saturday, brings together a record 68 participating galleries from 28 countries, and thousands of art lovers. MAG should get a better / prominent area and coverage as it can lead to a bigger exposure and can associate itself with a more credible visitors started with participation into MSE 2009. It is signifi cant to have our own Malaysian Art Fair. This year for instance, both Tokyo and Hong Kong will launch new events modeled along hip fairs such as Art Basel and London’s Frieze. In the face of a possible international downturn in the fi nancial markets, the global art market is looking to the emerging markets of the Middle East and Asia to keep it fuelled. The galleries responded to the challenges of the world economy with well considered exhibitions of exceptional quality confi rming the resilience and adaptability of the contemporary art market both internationally as well as local.Indeed, art galleries have mushroomed in Dubai and a healthy competition has developed with Abu Dhabi, which is building fi ve art and culture centers on Saadiyat Island. Those centers will include a branch of the Louvre and the Guggenheim, with buildings designed by leading architects including Frank Gehry.

Thus, to have our own international art fair/ expo in Malaysia is crucial. NAG is looking at the development aspects of international trade in cultural industries particularly visual art. The contemporary art scene is booming, and Dubai is well positioned to capitalize on this boom. There is a growing interest from collectors, both private institutional and corporate, who realize that art, at least in this region, is protected from the fi nancial woes. This enables more local galleries to participate in an international art platform, helping them to build their galleries’ reputation. Instead of our galleries exhibiting abroad with huge expenses involved, foreign galleries will take up booths in our Malaysia art fair/expo. This also helps in attracting international art collectors and media to our country. With that, our name in the international art scene is built. The facts that, Dubai, the Gulf ’s commercial heart, is increasingly attracting contemporary artists, especially from neighboring Iran and South Asia, as exhibition venues multiply. Zero import and export taxes for art, and a free fl ow of capital has already poised the Emirate to become a possible rival to Hong Kong, the world’s third most important art auction hub after New York and London. International art fairs in Asia and the Middle East have helped fuel demand for modern art. In the contemporary world, a new development paradigm is emerging that links the economy and culture, embracing economic, cultural, technological and social aspects of

development at both the macro and micro levels. Central to the new paradigm is the fact that creativity, knowledge and access to information are increasingly recognized as powerful engines driving economic growth and promoting development in a globalizing world. “Creativity” in this context refers to the formulation of new ideas and to the application of these ideas to produce original works of art and cultural products, functional creations, scientifi c inventions and technological innovations. There is thus an economic aspect to creativity, observable in the way it contributes to entrepreneurship, fosters innovation, enhances productivity and promotes economic growth. Art Dubai 2009 saw considered buying from both established and new collectors, while making new contacts and building relationships with buyers in the UAE and abroad.

The conclusion which can be drawn from Art Dubai 2009 is that there remains a robust appreciation in the market for artwork of the highest quality, with proposed art fair such as ours enabling Malaysian galleries to introduce new artists and foster the development of new collections.

Nonetheless, according to the organizer, MSE 2009 - the biggest showcase of Malaysian services overseas – will serve as a broad platform for sourcing and networking for service

Abu Bakar Idris, Taman Syifa’ - Manis di Hujung Pahit, 2009, Mixed media on canvas, 61 x 76cm

Raja Shahriman Raja Aziddin, Nafas 31, 2004 , Metal, 71 x 63 x 28cm

ISSUE #02

16

With Datuk Sharil Ikram, The Ambassador of Malaysia di Doha Qatar.

providers from Malaysia and their potential partners in the targeted markets. The exhibition has already attracted visitors from UAE, Saudi Arabia, Qatar, Kuwait, Oman, Iraq, Syria, Jordan, Yemen, Lebanon, Bahrain, the Netherlands, the UK, Italy, India, Pakistan, Bangladesh, Kenya and South Africa.

Rapid development in Malaysia and prudent investment by the government in infrastructure development and human capital had produced many leading players in the country capable of providing world-class professional services in diverse sectors. This development realising visual art industry must play a greater role in promoting art in international market.

Application is open to galleries and artists to participate in the Art Dubai 17 - 20th March 2010.For furthur information please contact Laura Trelford: laura@artdubai.ae or visit www.artdubai.ae

Andy Warhol artwork sold AED 1.95 million during Art Dubai Fair Another installation work in Baskatiya Art Fair ( BAF) Dubai. UEA

Dubai International Finance Centre - DIFC

Memberi keistimewaan, peluang dan informasi terkini kepada para pelukis tanahair untuk melibatkan diri sepenuhnya dalam bidang seni supaya tidak merasa terpinggir. BSLN sebagai tunggak warisan seni negara terpanggil dan bertanggungjawab untuk memberi faedah yang menarik kepada mereka yang mendaftar sebagai keahlian pelukis BSLN.

Perasmian Kad Keahlian Artis(Artist Membership Card)31 Mac 2009

Program Merakyatkan Seni (PMS) Sandakan, Sabah 7 - 8 Mac 2009

Mengambil pendekatan memperkasakan perpaduan bersama masyarakat di Sandakan, Sabah sempena PMS yang telah memberi peluang kepada Balai Seni Lukis Negara (BSLN) untuk melibatkan diri dalam pengisian program dengan mengendalikan aktiviti ‘Graffi ti Art’ bagi membuka mata dan mengubah mentaliti masyarakat terhadap seni graffi ti bukan sebagai satu vandalism.

Iskandar Malaysia Contemporary Art Show (IMCAS) Johor Bahru 21 Mac – Jun 2009

Pameran ini telah mengambil alih hampir keseluruhan ruangan tingkat 4 Danga City Mall dengan memaparkan karya-karya kontemporari pelukis Malaysia. BSLN berperanan dalam membantu IMcas 09 dengan menyediakan kepakaran penulisan kuratorial, khidmat kepakaran pameran, tenaga kerja dan juga logistik. BSLN juga telah membuka Booth Jualan dan promosi bagi menunjukkan keberadaan BSLN dalam menyokong program ini.

17

Mempamerkan sebilangan karya seni visual dari Koleksi Himpunan Tetap BSLN berjumlah 22 karya yang telah diangkat sebagai Daftar Warisan Kebangsaan 2009. Antara karya yang dipamerkan ialah karya oleh Abdullah Ariff yang bertajuk ‘Bumi Yang Bahagia Lombong Bijih Timah Malaya’, karya Frank Swettenham, ‘Batu Serlin-Pahang River’, karya Datuk Chuah Thean Teng, ‘Perairan Pulau Pinang’dan banyak lagi. Melalui festival ini, para pelajar sedikit sebanyak dapat mempelajari dan mengetahui serba sedikit mengenai karya-karya yang telah diangkat sebagai Daftar Warisan Kebangsaan 2009. Turut dijemput bagi memeriahkan program ialah dua pelukis tanahair iaitu S. Amin Sahab dan Azmi Mambo yang membuat demonstrasi lukisan.

Pameran Seni Visual sempena Festival Pengajian Melayu, Universiti Melaya 13- 15 Mac 2009

BSLN Publication

18

POSTER PAHIT MANIS : POSTER GRAPHIC EXHIBITION 2002

Mempertingkatkan kefahaman tentang senireka dan proses-proses rekaan yang berkait rapat dengan fungsi dan penggunaannya dalam seni tampak.

20 x 15.4 cm56 m/s43 colour plates2002ISBN 983-9572-55-5

RM 20

SERAMIK KONTEMPORARI ASIA & SELSIUS 2007 / INTERNATIONAL CONTEMPORARY CERAMIC EXHIBITION ASIA CERAMICS NETWORK & SELSIUS

Menghimpunkan ciptaan artistik seramik kontemporari masa kini oleh pereka lama dan baru termasuk pengkarya seramik terkemuka dari negara Jepun, Korea, China, Vietnam, Thailand, Rusia, Taiwan, India, Singapura dan Malaysia.

23 x 23 cm158 m/s108 colour plates2007ISBN 978-983-3497-20-1

RM 50

POSTER KHAS DATUK CHUAH THEAN TENG

Himpunan 12 karya terpilih oleh Datuk Chuah Thean Teng.

45 x 31cm2008

RM 70 (6 karya 1 set)

TENG : SATU PENGHARGAAN / TENG : AN APPRECIATION

Datuk Chuah Thean Teng adalah seorang pelukis yang banyak berjasa kepada tanahair perkembangan senilukis tanahair terutama lukisan yang bercirikan batik.

28.7 x 25 cm157 m/s136 colour plates2008ISBN 978-983-3497-31-7

RM 100

SUSURMASA-SENILUKIS MALAYSIA BERSAMA 50 TAHUN BALAI SENI LUKIS NEGARATIMELINES-MALAYSIAN ART WITH 50 YEARS NATIONAL ART GALLERY

Susurmasa merupakan suatu projek susurgalur kewujudan seni viisual tanahir dan disusun khas sempena sambutan ke 50 tahun BSLN. Buku ini mengadungi esei dan penulisan mengenai susurgalur seni visual mengikut tema tertentu seperti Pra Sejarah, Empayar Pelayaran dan Perdagangan, Warkah Berlukis, Jelita Malaya, Karya Ikonik dan Kontemporari dan Ide Baru.

28 x 24 cm307 m/s221 colour plates2008ISBN 978-983-3497-24-9

RM 100

SENIKINI ISU#01

Majalah berwarna yang mempromosikan aktiviti seni semasa. Diterbitkan 6 kali setahun. Boleh didapati secara percuma di BSLN.

39.8 x 28.5 cm20 m/s2009ISSN 1985-7233

PERCUMA

BAKAT MUDA SEZAMAN 2006

Memaparkan karya-karya dari Pertandingan Bakat Muda Sezaman (BMS) 2006

25 x 18 cm48 m/s27 colour plates2008ISBN 978-983-3497-21-8

RM 30

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

TO ADVERTISE IN PLEASE EMAIL TO...

norazmah@artgallery.gov.my

THE LIGHT SHOW 2009 The Annexe, Central Market KL16 April – 3 May 2009 (open11am – 7pm daily) 03-20701137; jerome@annexegallery.com

“INDONESIA...GOES POP” BY DIPO ANDY AND GALAM ZULKIFLIAvanthay Contemporary Asian Art Gallery, Zurich, Switzerland17th April – 30th May 2009www.avanthaycontemporary.com

The Light Show 2009 presents an assortment of lights and light installations made from recycled/found objects to humour, cajole and inspire. Exhibitors include Bernard Chauly, Carolyn Lau, Fabian Tan, Farah Azizan, Jazmi Izwan Jamal, Lisa Foo, Loh Kok Man, Mah Su Sim, and Richard Lau. Inspired and motivated by their respective interests and disciplines, the participants of TLS09 are bound by the commitment to be “greener” and kinder to our environment.

The British artist Richard Hamilton recognized as founder of the Pop Art defi ned thisstyle of art in 1957 as follows: “Pop Art is: Popular (designed for a mass audience), Transient (short term solution), Expendable (easily-forgotten), Low cost, Mass produced, Young, Witty, Sexy, Gimmicky, Glamorous, Big Business…This is just the beginning…” More than 50 years later two young Indonesian artists pick up the defi nition of Hamilton. In their art Dipo Andy and Galam Zulkifl i are adopting the techniques, visual strategies and concepts of Pop Art. It is the fi rst time that these artists which belong to the Top 10 Southeast Asian artists will be shown in Europe.

Michal Macku is a Czech photographer who creates his works using his own photographic technique named Gellage - a discovery that has cemented his name in the history of contemporary photography. The technique ‘Gellage’ consists of the transfer of exposed and fi xed photographic emulsion onto paper. This transparent and plastic material makes it possible to reshape and reform the original images, changing their relationships and endowing them with new meanings during the transfer. This will be the fi rst time that Michal Macku will be showing in Malaysia and Asia.

GLASS (AND) GELLAGES BY MICHAL MACKU Wei-Ling Gallery, Brickfi elds, Kuala Lumpur6th – 30th April , Mon - Fri: 12noon - 7pm; weekends by appointment.03-2260 1106/07; 012-302 5302http://www.weiling-gallery.com

CADANGAN-CADANGAN UNTUK NEGARAKU BY LIEW KUNG YUGaleri Petronas, Suria KLCC21 April – 14 June 2009 (Tue - Sun: 10am - 8pm; closed on Mon) 03-2051 7770http://www.galeripetronas.com

Veteran multidisciplinary artist Liew Kung Yu has been pushing the boundaries of contemporary Malaysian photography for many years. He was trained as a Graphic Designer but established his reputation for working with various media such as installation and performance art. Kung Yu has designed for theatre and dance performances and has exhibited his photography works in group and solo shows both locally and abroad.

For this latest series of works titled ‘Cadangan-Cadangan Untuk Negaraku’, (Proposals for my country) Kung Yu drew his inspiration from the numerous public sculptures, monuments and decorations found throughout Malaysia. From the giant Pitcher Plant at Dataran Merdeka to the bunga raya fountain in Malacca, Kung Yu constructed and assembled four large-scale photo collages of various public sculptures made up from the photographs he took from travelling around the country. These elaborate and complex vistas celebrate national achievements and extravagant monuments while presenting to us the artist’s vision of what our nation could look like in the future. These laboured works, like pages from a pop-up book, are beautifully constructed from layered motifs of kitsch in colourful displays of whimsy and humour.

Playful, theatrical, kitsch and strangely beautiful, Kung Yu’s work examines both the aesthetic choices of our built environments as well as the relationship between urban communities and the space that they inhabit.

To fi nd out more, see the interviews with Rahel Joseph, project coordinator of the exhibition and Liew Kung Yu at www.senicast.com

WHAT’S ON

BITUMANIA – PAINTING WITH BITUMENPace Gallery, Petaling Jaya8 - 26 April, 11am - 7pm 03-7954 6069

Ahmad Zakii Anwar, Jailani Abu Hassan, Hamir Soib and Ahmad Fuad Osman are four of Malaysia’s leading contemporary painters who are coming together in this show with paintings on canvas solely produced in Bitumen. Bitumen is a black, oily, viscous material that is a naturally-occurring organic by product of decomposed organic materials, also known as asphalt or tar. The earliest known use of bitumen is around 40,000 years ago it was found adhering to stone tools used for construction of buildings and water proofi ng of reed boats in Syria. Used for painting by thinning it with turpentine it is unlike oils in that it dries to touch in a few hours, and cures in days. After it’s dry, you can rewet it with turpentine and lift off.

EXPRESSION 2009Galeri Seni Mutiara, Penang12th – 28th April 2009, 11am – 6pm04- 262 0167, 016- 444 0167

FROM ONE EARTH II- WATER IN NATUREWisma Kebudayaan SGM, Jalan Bukit Bintang KL19th April – 3 May 2009, 11am-6pm daily03-2141 2003www.sgm.org.my

3D TO 2D SCULPUTRE STUDIESPelita Hati’s House of Art, Bangsar KL15th April – 6th May 2009, Mon-Sat, 10am – 6pm 03- 2284 8380, phati@streamyxwww.pelitahati.com.my

REFLECTION: WORKS BY HOE SAY YONGAlpha Utara Gallery, George Town Penang25th April – 24th May, 10am – 6pm, closed on Monday. 04- 2626 840, art@alpha-utara.com

IN LOVE OF MAKKAH WE MEET - CALL FOR PARTICIPATION

The City of Makkah Al-Mukarammah, has announced an open invitation for all Muslim artists to participate in the mural painting competition.

The deadline for receiving the designs is 15.5.2009

More information on this competition can be found in website : www.mbp.org.sa

Tel : 02558 4600 Fax : 02557 5010 P. O. BOX : 6655 Makkah